thelearningpartnership.ca
Teacher’s Resource
Thank you to our program sponsors:
The Learning Partnership is a national charity dedicated to building stakeholder partnerships to support,
promote and advance publicly funded education in Canada. We do this through five key deliverables - innovative student
programs, executive leadership for educators, knowledge mobilization and policy, tribute celebrations of excellence and
ongoing collaborations across Canada. Since 1993, more than 5.7 million students have participated in The Learning
Partnership’s programs. For more information on The Learning Partnership, visit thelearningpartnership.ca.
The Learning Partnership wishes to thank the many teachers who contributed to the development of this
resource and the successful implementation of the Turning Points program and essay contest.
Thank you to our program supporters:
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The Learning Partnership
Head Office: Toronto
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Email: [email protected]
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Table of Contents
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Program Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Benefits of Turning Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Turning Points eLearning Modules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Sharing and Celebrating Student Accomplishments. . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Turning Points Essay Contest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
How Does the Contest Work?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Teaching/Learning Approach to Promote Student Reflection. . . . . . . . . . . . . . . . . . . . 15
Overview of Reflective Activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Turning Points Writing Workshop: A Focus on Narratives. . . . . . . . . . . . . . . . . . . 18
The Writing Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Workshop Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Overview of Mini-Lessons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Assessment and Evaluation of Student Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Student Rubric for Personal Narrative Writing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Reflective Activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Activity 1
Establishing a Bank of Value Words. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
A Bank of Value Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Activity 2
Prioritizing Value Words. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Activity 3
Recognizing Positive Values in Others. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Activity 4
Inferring Values from Actions through Literature. . . . . . . . . . . . . . . . . . . . 30
Literature that Highlights Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Picture Book or Media Text Two-Column Chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Personal Narrative Two-Column Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Activity 5
TURNING POINTS – Teacher’s Resource Guide | 3
The Learning Partnership
Inferring Values from Actions Using Media Texts. . . . . . . . . . . . . . . . . . . . 34
Values Chart (for all texts) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Viewing Guide: Smoke Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Viewing Guide: The Karate Kid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Activity 6
A Teacher in All of Us. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
A Teacher in All of Us. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Activity 7
A Tree Like Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
A Tree Like Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Activity 8
Understanding Ourselves, Our Values, and Our Traits. . . . . . . . . . . . . . . . 44
Just Be Yourself Mind Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Activity 9A
Gifts given and received. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Gifts as Turning Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Activity 9B
Packing Positive Qualities in Self-Esteem Backpacks . . . . . . . . . . . . . . . . . 48
Self-Esteem Backpack Story #1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Self-Esteem Backpack Story #2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Self-Esteem Backpack Story #3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Self-Esteem Backpack Story #4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Self-Esteem Backpack Story #5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
The Eagle Feather
Always speak from the heart and speak the truth.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Activity 10
Identifying Personal Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Value Representation Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Activity 11 (for secondary)
4 | TURNING POINTS – Teacher’s Resource Guide
thelearningpartnership.ca
Constructing Belief Statements About Values. . . . . . . . . . . . . . . . . . . . . . . 62
Constructing Belief Statements about Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Activity 12
Personal Experience Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Children Learn What They Live
Dorothy Law Nolte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Life Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Activity 13
A Hundred Years From Now. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
A Hundred Years From Now (activity page). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Today and a hundred years from now: My Footprint. . . . . . . . . . . . . . . . . 69
Activity 14
Quickwriting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Quickwriting Narrative Prompts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Quickwriting Quotation Prompts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Quickwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Mini-Lesson Activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Mini-Lesson 1
The Personal Narrative Essay – What is it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Characteristics of Personal Narratives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Mini-Lesson 2
Meaningful and Authentic Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Guidelines for Peer Feedback: TAG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Mini-Lesson 3
Piecing Together Themes and Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Mini-Lesson 4
Turn to a Partner and Rehearse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Narrative Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Mini-Lesson 5
Vivid Descriptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Mini-Lesson 6
Documenting Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
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The Learning Partnership
Applying Dialogue Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Mini-Lesson 7
Reactions and Reflections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Mini-Lesson 8
Engaging Introductions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Engaging Introductions to Share with Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Mini-Lesson 9
Finding the Lesson (the Maxim) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Selected Maxims (proverbs, truisms) to Discuss with Students. . . . . . . . . . . . . . . . . . . 89
Mini-Lesson 10
Wearing the Editor’s Cap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
The Personal Narrative Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Revision Checklist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Editing Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Appendix 1: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Appendix 2: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Scoring Sheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Appendix 3: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Submitting Your Essay Electronically. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Appendix 4: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
6 | TURNING POINTS – Teacher’s Resource Guide
thelearningpartnership.ca
Introduction
Throughout our lives we’re all reborn continuously
as we repeatedly create new selves out of our encounters with life.
Every time something happens that is big enough to shake us,
whether it’s bad or good, it fertilizes the self with some new learning that the self had
somehow always been waiting for.
And it’s out of that that your new self is born.
– MIRA KIRSHENBAUM, 2005
Life has many turning points — the events and experiences that lead to or stimulate a significant
change. These are the moments on which human stories hinge, and many of these moments involve
a sudden insight, a choice, or a decision to be made. Whatever the moment, no matter whether it is
momentous or seemingly insignificant, it has one certain outcome: it makes a difference in our lives.
Turning Points is a learning process that provides opportunities for students in Grade 6 to 12 to read,
write, and think about their fundamental values. A process of self-reflection and dialogue with teachers
and peers leads to writing a narrative essay in which students organize their thoughts about the
principles that guide their lives. Students are encouraged to submit their essays for formal evaluation,
recognition, and publication.
Character is defined by what people do, not what they say or believe. Every action helps define the
kind of person they are choosing to be. Students learn that what they do matters and that one person
can make a difference. The process of developing personal values engages students in the kind of selfexamination and articulation and testing of ideas against reality that is essential in preparing for the
transition from school to the world beyond. It also helps them understand how their personal values
shape their actions.
This essay-writing process, driven by personal values, celebrates what is right about young people
and reinforces the power of choice. It supports the expectations and outcomes in provincial curricula.
It is not an add-on. This process can be a catalyst for students and teachers to engage in reflective
discussion about how personal values impact the ethos of the classroom, school, and society.
A single event can awaken within us a stranger totally unknown to us.
To live is to be slowly born.
— ANTOINE DE SAINT-EXUPÉRY, FRENCH WRITER AND PILOT, DECLARED MISSING AFTER A FLIGHT DURING WORLD WAR II
TURNING POINTS –
Teacher’s Resource Guide | 7
The Learning Partnership
Program Objectives
We are what we do, especially what we do to change what we are:
our identity resides in action and in struggle. – EDUARDO GALEANO
The Learning Partnership’s Turning Points program helps teachers and students focus on character
awareness and values education in personal and meaningful ways. It involves teachers and students in
a cycle of thinking, dialoguing, reflecting, and writing, emphasizing the significance of understanding
ourselves and our places in the world. Reflective and writing activities are intended to prompt
reflection about appropriate ethical and moral conduct. Through discussion, media encounters, active
participation, and self-awareness, students are asked to ponder, consider, and discuss moral issues
within the context of their own beliefs and experiences.
Specific objectives include:
■■ To foster an appreciation among students for the value of life experiences.
■■ To provide a vehicle for students to focus on their values and life goals and express them on paper.
■■ To provide schools with a flexible, easy-to-implement character awareness program that links essay
writing to each student’s personal experience.
■■ To motivate students to express themselves in written form and reinforce their writing skills.
■■ To mobilize community recognition for young people who are reflecting and writing about the
values that guide their lives.
How wonderful it is that nobody need wait a single moment before
starting to improve the world.
– ANNE FRANK, DIARIST AND CONCENTRATION CAMP VICTIM
8 | TURNING POINTS –
Teacher’s Resource Guide
thelearningpartnership.ca
Benefits of Turning Points
The Turning Points program is designed to support students as they reflect on their personal values.
Students have an opportunity to express in their own words what they value most in life and to explore
qualities that will help them be successful as citizens, in the workplace, and in school.
Being a responsible adult includes deciding what values, rules, principles, or ideals should guide the
way we live. When students have the opportunity to reflect on their values, discuss them with others,
and hear how others think, they are better prepared for the role of citizen that society asks them to
fulfil, making our world a better place. Through the act of writing, students consider their ideals,
consolidate them in their own minds, and examine the ways in which these ideals are expressed in the
choices they make every day.
Writing a narrative essay fulfils the human impulse to tell stories. The listen-share-explore-reflect
process offers students a chance to think and write about themselves, to select an event worth writing
about, and to find relevance in that experience. By articulating a personal turning point, they get to
know and understand themselves better. Turning Points is an excellent vehicle for fulfilling curriculum
outcomes and expectations in a context that students will find relevant and meaningful. The application
of literacy skills in an authentic learning situation also provides an opportunity to build self-esteem, use
metacognitive skills, and discover individual potential.
Turning Points connects the moral dimension of education to the social and civic realms of students’
lives. Through participation, students can appreciate the qualities that define our humanity and share
that appreciation as outlined by Fullan (2012) in Moving from Great to Excellent:
■■ character education: honesty, self-regulation and responsibility, perseverance, empathy for
contributing to the safety and benefit of others, self-confidence, personal health and well-being,
career and life skills
■■ citizenship: global knowledge, sensitivity to and respect for other cultures, active involvement in
addressing issues of human and environmental sustainability
■■ communication: communicate effectively orally, in writing, and with a variety of digital tools and
resources
■■ critical thinking and problem-solving: think critically to design and manage projects, solve
problems, and make effective decisions
■■ collaboration: work in teams, learn from and contribute to the learning of others, social
networking skills, empathy in working with diverse others
■■ creativity and imagination: economic and social entrepreneurialism, considering and pursuing
novel ideas, and leadership for action
One can acquire everything in solitude — except character.
– HENRI STENDAHL, 19TH-CENTURY FRENCH AUTHOR
TURNING POINTS –
Teacher’s Resource Guide | 9
The Learning Partnership
Getting Ready
Spend some time planning how this writing task will fit into your ongoing program. It could be an
opportunity to teach some new skills or to apply familiar ones in a new context. Consider what you will
need to put into place to support the success of all students.
If you have not already completed the Turning Points eLearning training, you might want to take
some time to preview the questions associated with the eLearning modules outlined on page 11.
■■ Think about ways to ensure a safe, caring, and inclusive learning environment in which students
feel comfortable exploring personal and possibly sensitive issues in an open and honest way with
you and each other.
■■ It is critically important for students to have time to prepare before they begin to write. Select from
the suggested reflective activities (pages 25-73) and writing mini-lessons (pages 74-94) those
that best meet the needs of the students involved.
■■ In the weeks preceding and during the essay writing, integrate opportunities for students to reflect
on important life values, for example, through discussions, journaling, or other assignments.
■■ You may need to spend time with some students individually to help them select an appropriate
topic. Encourage them to keep an open mind about the direction they plan to take in their writing.
Personal growth and change often come from the small things in life.
■■ The turning point described in the essay could be as simple as someone else’s act of integrity,
something thought-provoking a student read or heard on the news, or any other small event that
prompted reflection or action on the part of the student.
■■ You will have your own strategies for implementing the writing process. Use the strategies and
tools that the students are accustomed to. We have provided some here to supplement what you
are already doing, in the form of mini-lessons.
■■ Students may share personal experiences with you in confidence. Your compassion, sensitivity, and
professionalism are essential. However, be alert to any disclosures that might require private followup with the students and, if necessary, follow your district’s procedures for dealing with such issues.
■■ Arrange for students to have access to a computer for composing drafts and/or the final copy.
That is what learning is. You suddenly understand something you’ve understood all
of your life, but in a new way. – DORIS LESSING, BRITISH NOVELIST 10 | TURNING POINTS –
Teacher’s Resource Guide
thelearningpartnership.ca
The Turning Points eLearning Modules
If you have not already done so, engage in the Turning Points eLearning modules designed by The
Learning Partnership. The following organizational guidelines and key questions will be explored
through the modules. Upon completion of the eLearning program, you will receive a certificate of
completion.
Module 1 : Planning and Getting Ready
■■ What resources are available to support me in planning and getting ready?
■■ What curriculum connections can I make?
■■ How can I fit Turning Points into my existing writing program?
■■ What new skills and strategies can I teach?
■■ How do I get started?
Module 2: Promoting student reflection: Understanding and examining our values
and character
■■ How will I get ready to engage my students in an investigation of their life’s turning points?
■■ What teaching/learning approach will support this examination?
■■ How will I promote student reflection, dialogue, and investigation of turning points?
Module 3: Engaging students in the writing process
■■ How will I engage students in the investigation, understanding, and writing of their stories,
ultimately creating a Turning Points narrative?
■■ How will I ensure that my students have opportunities for feedback?
Module 4: Designing assessment for growth; planning to share stories; and
understanding the role of The Turning Points Essay Contest
■■ How will I assess and evaluate the learning that has taken place throughout the Turning Points
process of student reflection, dialogue, and writing?
■■ How, when, and with whom will students have the opportunity to share and celebrate their stories?
■■ How and when will I announce the Turning Points Essay Contest?
Everybody’s got a story…
– AMANDA MARSHALL
TURNING POINTS –
Teacher’s Resource Guide | 11
The Learning Partnership
Sharing and Celebrating Student Accomplishments
Students will be sharing their stories throughout the reflective and writing processes, building comfort
and confidence each time they communicate or review their stories. In-class celebration of student
narratives and process work should take place on an ongoing basis as part of your writing workshop.
It is important to note here that some students may choose not to share their stories with peers for
various reasons. Ensure that these students have multiple opportunities for teacher conferencing and
sharing, reminding them of the role of confidentiality, trust, and disclosure.
The Role of Confidentiality, Trust, and Disclosure
Writing about oneself can be daunting for many students. Writing, in general, is a risky venture.
We wonder whether our writing is good enough, whether someone will find it interesting,
whether we have something worthwhile to say. It is, therefore, important that we, as teachers,
ensure that writing takes place in a safe, caring, and inclusive learning environment in which
students feel comfortable exploring personal and possibly sensitive issues in open and honest ways
with you and their peers.
Again, it is critical to remember that some students may share personal experiences with you in
confidence. Your compassion and sensitivity are essential. However, you must alert students to
any instances that might require you to follow your district’s procedures for dealing with such
disclosures.
Suggestions for Public Presentations
Prepare students to make public presentations of their work. Students work harder to do their
best when they know their work will be presented to an audience beyond the classroom. These
presentations can be as simple or as complex as you choose, some requiring higher levels of
organization than others.
■■ Publish a school-wide collection of essays to be made available to students, online, or in the school
library.
■■ Publish the stories in a community newspaper to allow the greater community to see the type of
work that our students are doing in school and the ways they think about the experiences in their
lives.
■■ Organize a school-wide (grade appropriate) event to share personal narratives.
■■ Extend into a Share Fair where students prepare and present a selection of their work including
their final essay (invite families, school board personnel, other teachers, and students to attend).
■■ Invite students to participate in the Turning Points Essay Contest.
Love the moment. Flowers grow out of dark moments. Therefore, each moment
is vital. It affects the whole. Life is a succession of such moments and to live each,
is to succeed. – SISTER MARY CORITA KENT
12 | TURNING POINTS –
Teacher’s Resource Guide
thelearningpartnership.ca
The Turning Points Essay Contest
The Learning Partnership sponsors an essay contest available to all those who participated in the
Turning Points program. It is critical that you, as a teacher, make a decision about when or if you are
going to announce the contest. For many students, the discovery and writing of their turning point is
reward enough. There may be some, however, who are motivated by the possibility of sharing their
story with a wider community.
First, you should familiarize yourself with the procedures and timelines of the Turning Points Essay
Contest.
Disctricts
and schools
register for the
Turning Points
program.
Timelines
are checked,
and students
engage in
reflection and
writing.
Essay selections
are made at
the school
level, based on
allotment.
Essays are
submitted
online and
proceed to
next level of
judging.
Award winners
are notified
and may be
invited to
The Learning
Partnership’s
Awards Event.
Award winning
essays are
published in
a collection,
available
online.
Intelligence plus character — that is the goal of true education.
– MARTIN LUTHER KING, JR., NOBEL PRIZE–WINNING AMERICAN CIVIL RIGHTS LEADER
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How Does the Contest Work?
■■ The Turning Points essay competition is open to all students currently in Grades 6 to 12. It is
suggested that the essays be marked as part of the Language / English program.
■■ Entries must be submitted electronically through The Learning Partnership’s website.
■■ Essay Length:
• Group A: Grade 6 – 250 to 350 words
• Group B: Grades 7-8 – 350 to 500 words
• Group C: Grades 9-10 – 500 to 700 words
• Group D: Grades 11-12 – 800 to 1000 words
■■ Entries will be marked on the basis of originality of thought, clarity of language, organizational
structure, and use of conventions such as grammar, punctuation and spelling (see Rubric on
page 24.)
■■ Cash prizes will be awarded for essays recommended by a panel of judges. In addition, The
Learning Partnership will publish winning essays in a collection of Turning Points Essays.
■■ Prizes will be awarded at an Awards Celebration, to which finalists, parents, teachers, principals,
trustees, directors of education, members of the steering committee, and judges will be invited.
■■ For curriculum correlations and the submission deadline, go to thelearningpartnership.ca.
All paths lead to the same goal: to convey to others what we are.
– PABLO NERUDA, NOBEL PRIZE–WINNING CHILEAN POET AND POLITICAL ACTIVIST
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Teaching/Learning Approach to Promote Student Reflection
Values reflect our sense of right and wrong or what “ought” to be.
They influence our attitudes and behaviour,
serving as broad guidelines to guide our daily actions.
We advocate for an activity framework that gradually releases responsibility to students as they gain
comfort with activities, values, turning points, etc. Students are engaged in a combination of teacher
modelling, small group exploration, whole class dialogue, and independent work. Each activity presents
a sequence of steps that will allow students to explore thoughts, ideas stories, values, character traits
from multiple perspectives in multiple contexts. Individual activities suggest adjustments that might be
considered for individual grade levels; you will have to consider accommodations for the unique needs
of your classroom community. Teacher modelling is a critical component as it builds trust and rapport
with students, letting them know that we experience the same types of events, thoughts, feelings, and
insights as they do.
■■ Teacher Modelling and Sharing: This is your opportunity to share your experiences, ideas,
thoughts, and reflections with students.
■■ Small Group Work: Students work in small groups sharing ideas and stories, understanding
values, characteristics, experiences, and building community.
■■ Whole Class Dialogue: Students have opportunities to work as a whole class to build consensus,
share thoughts and ideas, discover what it means to be part of a larger whole.
■■ Independent Work: Students are provided with time and opportunity to reflect personally.
■■ Grade Level Considerations: Teachers make adjustments to activities in response to the strengths
and needs of students.
Values enable us to treat each other with fairness, respect, and care, and ensure
that we act in ethical rather than unethical ways, making a positive difference in
the world. We take initiative to right a wrong or be of service to others; we persevere
to overcome problems and mend relationships; we work selflessly on behalf of others
or for a noble cause, often without recognition or reward.
– CHARACTER EDUCATION PARTNERSHIP (WWW.CHARACTER.ORG)
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Overview of Reflective Activities
Each of the reflective activities presented here is designed to help students think about the theme and
generate ideas that they can later write about. Select those that are appropriate for your students.
These activities help students to explore their values, their own personal character, the characteristics
of people that they admire, their beliefs, and the consistency of their beliefs and actions. Reflective
activities include:
Establishing a Bank of Value Words: Students examine what they understand about individual value
words and think about situations when they have either experienced or observed these words and
values in both positive and negative ways.
Prioritizing Value Words: Students consider the significance of individual value words, recognizing
that we prioritize different values, dependent on situations we might encounter. Students also consider
what might happen if we have too much or too little of any given value.
Recognizing Character Traits in Others: Students consider someone well known and respected,
identifying how actions, characteristics, and qualities lead to this level of respect. Students explore
the link between actions and values, considering that when actions are consistent with values, we are
being who we truly are, not someone that others expect us to be.
Inferring Values from Action in Literature: Students explore the link between what we value
and observable actions in order to understand times when either their own values and actions were
consistent and aligned or inconsistent and incongruent. Regardless of grade level, children’s literature
in the form of picture books can be encountered in short periods of time allowing for a problem to be
established, multiple actions, a visual representation, and a solution to be found.
Inferring Values from Action in Media Texts: Students view and discuss media texts as a vicarious
and living experience of values. Various purposes for viewing will be established. Students will engage
in a combination of pre-viewing, during viewing, and post-viewing exercises.
A Teacher in All of Us: Students identify the core values of those who have impacted on them most,
the individuals who have made a significant positive in their lives.
Understanding Ourselves, Our Actions, and Our Traits: Students discuss why the person we
present is often different than the person we truly are on the inside. Dr. Seuss once said: “Today you
are you, that is truer than true. There is no one alive, who is youer than you.” The goal here is to help
students to brainstorm who they really think they are and why they think these ways.
True knowledge consists in knowing things, not words.
– LADY MARY WORTLEY MONTAGU, 18TH-CENTURY POET AND ESSAYIST
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Constructing Belief Statements About Values (Secondary): Students think in depth about what
they believe about their value, ultimately helping them to “find their story.” This activity requires more
complex thinking and is, therefore, more appropriate for secondary students.
Personal Experience Bank: Students think about the values they’ve learned in their lifetimes and
events that might have been pivotal in bringing about change or insights.
A Hundred Years from Now: Students reflect on where they will be one hundred years from now,
setting a goal to reach for, and perhaps a roadmap for their journey – a potential set of experiences,
insights, and values they might encounter along the way.
Quickwriting: Students engage in timed quickwriting in response to an image, a video clip, a quote,
or something that will prompt and stimulate thinking on a given topic. There is no purpose other than
to pour thoughts and ideas onto a fresh sheet of paper.
A Tree Like Me: Students relate their value to the structure of a tree. Roots represent the origin of
values, where they came from, or where they are ‘rooted.’ The tree trunk represents their most solid
values and inner beliefs, the ones that do not sway greatly in the wind. And leaves and/or branches,
represent their actions or how they show their values. This is an ideal activity for naturalist learners.
Packing Positive Qualities in Our Self-Esteem Backpacks: Students are exposed to others’
perceptions of them, allowing them to see the consistency and between their inner and outer selves.
They will be encouraged to discuss what they learned about themselves, the characteristics they feel
are most significant, and whether Activities 8 and 9 changed their perception of self.
Identifying Personal Values: Students explore values that are important to them in their daily lives,
representing their values in diverse ways, not restricting them to words written on a page. Consistent
with Gardner’s theory of multiple intelligences, students are encouraged to choose a modality or
representation style that best reflects their personality, strengths, and uniqueness.
I’m constantly reminded of what my grandfather told me: the moon shines just
as much on a handful of water as on a lake. We may find truth under a pebble.
Truth is probably very small. – RAYMOND MORIYAMA, CANADIAN ARCHITECT
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The Learning Partnership
The Turning Points Writing Workshop: A Focus on Narratives
Each of the writing activities presented here is designed to help students understand the purposes
of a narrative essay and strengthen their writing. Select those that are appropriate for your students.
These activities help students to explore their values, their own personal character, the characteristics
of people that they admire, their beliefs, and the consistency of their beliefs and actions. Reflective
activities include:
Classroom Conditions that Support Character and Value Awareness
The Character Education Partnership (www.character.org) cites 10 critical characteristics that enable
students to understand their values and how their values become actions. This module of writing
process is grounded in these characteristics, demonstrating how the writing process can be used to
build character, develop students’ ability to give and solicit feedback, enable them to see different
perspectives, ultimately revising their understandings of self and how the world works in respectful
ways. These include:
■■ Create a safe and supportive learning community that respects student differences and creates a
sense of belonging.
■■ Create a culture of excellence by providing time, support, and encouragement to do quality work.
■■ Reward approximations and expect student mastery. If students don’t find their story on the first
attempt, encourage them to keep trying.
■■ Foster a “growth mindset” that emphasizes the importance of effort and doing your best.
■■ Develop values, thinking dispositions, and “habits of mind” through discussion, modelling and
observation, practice, and reflection.
■■ Assign work that inspires students because it is challenging, meaningful, intrinsically rewarding, and
affects others.
■■ Provide models of excellence including significant others, literature, media, etc.
■■ Develop a culture that encourages feedback and revision. Build in peer and teacher conferencing.
■■ Use rubrics and/or success criteria to help students self-assess, set goals, and take responsibility for
their learning.
■■ Prepare students to make public presentations of their work. Students work harder to do their best
when they know their work will be presented to an audience beyond the classroom.
Writing is a process that is far greater than simply putting words on paper. For many
it can be a way of living, both in solitude and in collaboration; a way to explore
our worlds, life experiences, and self. It can allow us to restore continuity and
discover our stories. – RICHARDSON, PARR, & CAMPBELL, 2008
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The Writing Process
In creating their personal narrative, students will make their way through rehearsal and prewriting,
drafting, revising, editing, conferencing, publishing, and sharing their personal narratives. You may
have to review the writing process with your students helping them to make the connection to the
Turning Points program.
We recommend posting a description or poster of The Writing Process to remind students of the
actions they will undertake in the creation of their narratives. As you plan, take into consideration what
they know and understand it to be, what you have previously taught, and how you can extend and
enhance students’ understanding of each of the writing process actions. Despite the fact that students
of today’s generation do not often draft without simultaneously revising and editing, it is important for
them to consider each of these actions individually as each one sets them up for success and builds the
conditions for understanding of self, values, and the world.
Prewriting/Rehearsal
• Gathering, mapping, sketching,
brainstorming, noting
• Keeping track of topics, images,
deliciously poetic words or phrases
• Orally rehearsing with a partner or a
small group
Publishing/Sharing/
Polishing
• Creating a ‘professional’ format: folder,
booklet, anthology, picture book, poster,
brochure, multi-media presentation
• Sharing with an audience
• Listening to feedback
Drafting
• Selecting a form: a poem, a story, a letter
Writing
Process
Actions
• Writing quickly or telling
• Allowing ideas to flow from your mind onto
paper
• Not worrying about conventions yet
Editing
Revising
• Trimming, carving, linking sentences and
ideas to make the writing stronger
• Reading and rereading on your own or with a partner
• Fixing and correcting
• Painting images with words
• Paying attention to conventions, on your
own and orally with a partner
• Conferencing as ‘re-seeing’ from a new perspective
• Exploring, developing, adding, deleting, re-arranging
(Parr & Campbell, 2012, p. 92)
Writing can “make a life that sometimes seems to be falling apart come together
again, by retelling and re-storying the events of one’s life.” – ELLIS & BOCHNER, 200, P. 746 TURNING POINTS –
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The Learning Partnership
Workshop Procedures
The writing process is often applied during a writers workshop (based on Parr & Campbell’s Writers
Workshop, 2012) that is designed to engage students in literary warm-ups, promote modelling and
demonstration through mini-lessons, facilitate talk and independent writing, and provide meaningful
and authentic feedback. Four steps and suggested timelines are presented here for your review. Take
note that many of the Reflective Activities would work well as literary warm-ups depending on your
particular classroom community.
Literary Warm-Up (5-10 minutes):
Tell, read, or view a story/essay/media text to stimulate ideas or provide a model text, engage students
in choral reading of a poem/story/essay, or work with students on a short piece of writing.
Personal Narrative Mini-Lessons (5-10 minutes):
Model or demonstrate a specific skill based on student need. Topics could include conventions (e.g.,
paragraphing); writer’s craft (e.g., writing good beginnings and endings); and revising and editing skills
(by hand or word processing).
Writing Time (35-40 minutes):
Provide time for talk and feedback where students orally rehearse with a partner (5-10 minutes) as well
as time for sustained independent writing (25 to 30 minutes).
Authors’ Sharing Time (10-15 minutes):
Encourage students to present works at any phase for audience feedback and group problem-solving
– this can occur in any combination of partner, small group, or whole class.
Stories are powerful. They are a journey and a joining. In a tale we meet new places,
new people, new ideas. And they become our places, our people, our ideas.
– JANE YOLEN
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Overview of Mini-Lessons
Mini-lessons are designed to strengthen personal narratives in response to needs identified through
conferencing and review of student work. Be aware here that some students will require small group
instruction/conferencing in one or all areas. Post a schedule where they can sign up or you can request
mini-lessons as required. While each group of students is unique, we have identified what we feel
to be the most common mini-lessons provided required by students. Mini-lessons will range from
understanding the form and purpose of a personal narrative all the way through to actions involved in
editing. Where possible and relevant, we have identified the targeted phase of the writing process and
made connections to literature, media, or reflective activities.
Assessing the Effectiveness of Mini-Lessons
When developing mini-lessons and/or assessing the potential effectiveness of your mini-lessons, ask
yourself the following questions:
■■ Is there one focal point?
■■ Is the lesson brief and direct?
■■ Do I explicitly tell students what they will be learning and why I am modelling it?
■■ Do I scaffold new learning by building on what they already know?
■■ Do I use ongoing assessment to guide lesson topics?
(Parr & Campbell, 2012, p. 88)
The Personal Narrative – What is it?
Students are introduced to the nature of personal narratives and their distinguishing characteristics.
Students will listen to a Turning Points essay and discuss and label its characteristics, details, and lesson
learned.
Meaningful, Authentic, and Constructive Feedback:
Students are provided with a framework, and guidelines, that allow them to deliver meaningful and
authentic feedback in all phases of the writing process. TAG – Tell what you like; Ask questions; Give
suggestions is a framework that can help students deliver respectful and growth-oriented feedback in
ways that build student confidence and establish positive conditions for leaning and writing.
Piecing Together Themes and Details:
Students are encouraged to piece together themes and details from their reflective thinking pieces
in an effort to find their story and get ready to write their personal narrative. This is an effective prewriting/rehearsal activity that allows students to review and make use of previous work.
Turn to a Partner and Rehearse:
Students are provided with time and opportunity to first plan their story using a Personal Narrative
Template and second rehearse their story orally with a partner. This oral pre-writing/rehearsal capitalizes
on intrapersonal intelligence, as well as appealing to auditory learners.
Vivid Descriptions: Students add sensory details and description to their personal narrative in order to
further describe an event and draw the reader/listener in, capitalizing on Maya Angelou’s words: “I’ve
The act of writing is the act of discovering what you believe.
– DAVID HARE, BRITISH PLAYWRIGHT AND DIRECTOR
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learned that people will forget what you said, people will forget what you did, but people will never
forget how you made them feel.”
Documenting Dialogue:
Students explore how to add dialogue to their personal narrative in order to make a point, emphasize
emotional reactions, provide detail, make the narrative more interesting, and guide the reader through
the story.
Reactions and Reflections:
Students learn how to make use of reactions and reflections to their personal narrative. Reactions
include what a person says or does as a situation or event is experienced. Reflections include what a
person thinks about the event after it’s over or their key learning.
Engaging Introductions:
Students experience how, and why, engaging introductions are crucial to effective writing. They are
encouraged to think of it this way... you have about 15 seconds and 50 words to convince your reader
that you’re important and funny and original and well-groomed and worth listening to for the next ten
or 15 minutes.
Finding the Lesson (the Maxim):
Students are encouraged to find the lesson learned through the writing of their personal narrative and
help them to capture it in a maxim. A maxim is defined as a short, memorable phrase or quotation that
expresses a general truth about life, a fundamental principle, or a rule about behaviour. For example,
“Actions speak louder than words.”
Wearing the Editor’s Cap:
Students are provided with formal structures to format and edit their personal narratives. Revision and
editing checklists and a student rubric are provided for student use.
I’ve learned that people will forget what you said, people will forget what you did,
but people will never forget how you made them feel. – MAYA ANGELOU
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Assessment and Evaluation of Student Work
Student work should be assessed on an ongoing basis to determine strengths and needs, plan for
specific skill and strategy development, and provide meaningful and authentic feedback. Assessment
should be multifaceted emphasizing its role for, as, and of learning. We have provided sample pages
that can be used to create a Student Folder to be used not only as a student resource but for ongoing
assessment and evaluation as well (see Appendix 1).
While evaluation at end of unit is necessary and required, take care to make your summative
assessment practices consistent with your ongoing process work. For example, look to see how well
they were able to independently add descriptive detail after you taught the mini-lesson.
The Student Rubric for Personal Narrative Writing is available for assessment and formal evaluative
purposes and should be easily adapted to your provincial expectations (see following page).
Tips for Assessment and Evaluation
■■ Gather reflective and written work in a Turning Points Student Folder (See Appendix 1 for
sample).
■■ Plan to assess both process and product, identifying check-in points with students. Look for
most consistent performance over time.
■■ Select relevant provincial expectations to assess and evaluate during reflective work. Focus on
application of strategy, skill, and concept.
■■ Keep a master list of questions that students have, and select mini-lessons accordingly.
■■ Conference with students frequently, identifying areas of strength, need, and growth.
■■ Encourage students to develop a plan for growth based on strengths and needs.
■■ Review written work for independent application of strategies, skills, and concepts taught; reteach as necessary.
■■ Engage students in a combination of self and peer assessment to facilitate learning and writing.
■■ Explicitly teach how to give and receive meaningful and authentic feedback.
■■ Provide and discuss rubric and expectations in advance of formal assessment and evaluation of
personal narratives.
■■ Explicitly teach feedback, revision, and editing processes.
■■ Encourage use of checklists as guidelines for revision, editing, and formatting.
Our deepest fear is not that we are inadequate, our deepest fear is that we are
powerful beyond measure. It is our light, not our darkness, that most frightens us.
We ask ourselves, “Who am I to be brilliant, gorgeous, talented, fabulous?” Actually,
who are you not to be? – MARIANNE WILSON (A RETURN TO LOVE)
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Student Rubric for Personal Narrative Writing
Categories
4 (80-100%)
Name:____________________________________
3 (70-79%)
2 (60-69%)
1 (50-59%)
Knowledge and Understanding (40%)
• Purpose
• The writer relates a single
unforgettable personal
experience.
• The writer recounts a single
interesting personal experience.
• The writer recounts a single
personal experience.
• The writer needs to focus on one
personal experience.
• Narrative Format
• Narrative elements are skillfully
woven together (e.g., point of
view, powerful message/theme).
• Narrative elements are woven
together (e.g., point of view and
message/theme).
• A minimally developed narrative
plot line is provided with an
unclear message/theme.
• A more developed understanding
of the narrative form is required.
• S ensory Details/
Narrative Devices
• Many rich details (e.g., anecdotes,
dialogue, sensory information)
are used to create a clear sense
of the main characters’ thoughts,
actions, and appearances.
• Range of devices (e.g., suspense,
dialogue, action, and insightful
reflection) are used to support
author’s description of turning
point and skillfully advance the
plot.
• Rich details (e.g., anecdotes,
dialogue, sensory information)
are used to create a sense of
the main characters’ thoughts,
actions, and appearances.
• Devices such as suspense,
dialogue, action, and insightful
reflection are used to support
author’s description of turning
point and advance the plot.
• Attempts to use details (e.g.,
anecdotes, dialogue, sensory
information) but with minimal
effectiveness.
• The writer has included some
details (e.g., anecdotes, dialogue,
sensory information) that do not
relate to the story.
• Some devices such as suspense,
dialogue, action, and insightful
reflection are used to support
author’s description of turning
point and advance the plot.
• There is little or no use of
narrative devices.
• The writer makes strong and clear
connections between personal
experience, development of
values, and personal growth.
• The writer makes clear
connections between personal
experience, development of
values, and personal growth.
• The writer makes some
connections between personal
experience, development of
values, and personal growth.
• The writer makes limited
connections between personal
experience, development of
values, and personal growth.
• The writer’s voice captures the
experience well; it is authentic,
clever, and entertaining.
• The narrative skillfully reveals
the writer’s attitude about the
personal experience.
• The writer skillfully engages and
entertains/informs reader.
• The writer’s voice sounds natural;
it is confident, authentic, and
entertaining.
• The narrative reveals the writer’s
attitude about the personal
experience.
• The writer interests and
entertains/informs reader.
• The writer’s voice could be
stronger; at times, it is detached
from the narrative.
• The writer’s attitude about the
personal experience is vague.
• The writer needs to show more
feelings in their writing.
• Strong nouns, verbs, and
modifiers create clear, vivid
pictures and make the writing
come alive.
• Words or phrases powerfully
convey the intended message
and skillfully reveal characters’
appearance, actions, feelings,
reactions, and dialogue.
• Specific nouns, verbs, and
modifiers help create clear
pictures and express feelings.
• Stronger nouns, verbs, and
modifiers would create clearer
pictures.
• Many more specific nouns, verbs,
and modifiers are needed to
create clear pictures.
• Some interesting, unique words
and phrases convey the intended
message and reveal characters’
appearance, actions, feelings,
reactions, and dialogue.
• More precise words and phrases
are needed to convey the
intended message and reveal
characters’ appearance, actions,
feelings, reactions, and dialogue.
• Words and phrases are used
inappropriately or unnecessarily
repeated, interfering with the
intended message.
• Sentences are complete and flow
smoothly.
• Variety is seen in both the
types of sentences and their
beginnings.
• A variety of transition words
and phrases are used effectively
to guide the reader through the
story.
• Sentences are complete and most
flow smoothly.
• Some variety is seen in types of
sentences and their beginnings.
• Most sentences are complete and
most read smoothly.
• Little variety is seen in sentence
types.
• Short and choppy, or long and
cumbersome, sentences need to
be rewritten to make the essay
read smoothly.
• A variety of transition words and
phrases are used to guide the
reader through the story.
• Some transitions are used but
readers have to make some
connections on their own.
• Transitions are awkward, or
some transitions are overused,
confusing the reader at times.
• Self and Values
Communication(30%)
• Awareness of
Audience and Voice
• Word Choice
• S entence Fluency
Organization • The writer informs reader.
• The writer’s attitude about
the personal experience is
undetermined.
• Unclear sense of voice, purpose,
and/or audience.
(20%)
• Overall Structure
• The narrative has a strong,
engaging introduction.
• There is effective sequencing of
ideas skillfully linked to theme.
• The narrative contains a unifying
conclusion that reinforces the
theme and gives closure.
• The narrative has an engaging
introduction.
• There is logical sequencing of
ideas linked to theme.
• The narrative contains a
conclusion that reinforces that
the theme and gives closure.
• The narrative has a beginning,
middle, and ending.
• Sequencing of ideas requires
some revision in order to
reinforce purpose and theme of
the narrative.
• The order of events needs to be
stronger with a clearer link to the
purpose and theme of the narrative.
• Paragraph Structure
• Effective paragraph breaks are
utilized throughout.
• Effective paragraph breaks are
used through most of the story.
• Paragraph breaks are used
through some of the story.
• Story is arranged with too many
or too few paragraph breaks.
Conventions and présentation (10%)
• Conventions
• Punctuation, spelling, and
grammar/usage, are applied
correctly.
• Checklists were used skillfully
and effectively.
• The essay has few errors
in punctuation, spelling, or
grammar/usage.
• Checklists were used effectively.
• The essay has several errors
in punctuation, spelling, or
grammar/usage.
• Checklists could be used more
effectively.
• Some errors in punctuation,
spelling, or grammar/usage
confuse the reader.
• The writer needs support to use
checklists.
• Presentation
• Narrative is presented in
suggested format (proper essay
font size and style).
• Narrative is close to suggested
format, using proper essay font
size and style.
• Narrative has at least one aspect
of proper formatting that was not
followed.
• Narrative has several formatting
errors. It may be presented in an
inappropriate font or style.
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REFLECTIVE ACTIVITIES
Activity 1
Establishing a Bank of Value Words
Students examine what they understand about individual value words and think about situations when
they have either experienced or observed these words and values in both positive and negative ways.
Preparing for this activity…
From the bank of words provided on page 27 (or a list that you have), choose value words that
reflect the strengths, needs, and insights of your students. Prepare one envelope per group, each with
up to ten words. The list of questions can either be written on the board or attached to the front of
each envelope.
Step 1: Teacher Modelling and Sharing:
■■ Introduce a value word by telling students what you think of when you hear this word, related words,
synonyms, or antonyms, or characters or individuals who remind you of this word.
■■ Ask students to brainstorm words they would expect to find in a bank of value words.
Step 2: Small Group:
■■ Distribute envelopes with ten value words and the following list of questions to allow students to
discover the meaning of these words for themselves:
• What do you think of when you hear this word?
• What are some related words or synonyms? What’s the antonym?
• Can you think of someone who reminds you of this value word?
■■ Ask groups to sort the words into two groups: known and unfamiliar
Step 3: Whole Class:
■■ Provide definitions of unfamiliar words. Post words and definitions on a word wall for ongoing use.
■■ Ask students to identify one value that they apply in their daily lives.
Grade Level Consideration:
■■ Select words within the vocabularies and understandings of your students, expanding your bank of
words with their brainstorming. Elementary students may draw from a smaller bank of words.
26 | Activities TURNING POINTS
A Bank of Value Words
acceptance
endurance
orderliness
advocacy
enthusiasm
patience
alertness
fairness
perseverance
attentiveness
faith
persuasiveness
availability
flexibility
pride
benevolence
forgiveness
punctuality
boldness
freedom
respect
bravery
generosity
resourcefulness
caring
gentleness
responsibility
cautiousness
gratefulness
risk-taking
citizenship
honesty
self-discipline
commitment
honour
security
compassion
hospitality
self-control
conservation
humility
sensitivity
contentment
humour
service to others
cooperation
independence
sharing
courage
initiative
sincerity
creativity
integrity
spirituality
decisiveness
joyfulness
thoroughness
dependability
justice
thriftiness
deference
kindness
tolerance
dependability
kinship
trustworthiness
determination
leadership
truthfulness
diligence
love
virtue
discernment
loyalty
wisdom
discretion
obedience
empathy
observant
Note: These words are used for multiple activities, but may also be copied and attached to Student Folders
for ongoing reference. Alternatively, a class word wall could be created, with definitions and examples
provided by students.
TURNING POINTS Activities | 27
Activity 2
Prioritizing Value Words
Students consider the significance of individual value words, recognizing that we prioritize different values,
dependent on situations we might encounter. Students also consider what might happen if we have too
much or too little of any given value.
Preparing for this activity…
Envelopes of value words prepared for Activity 1 are required for this activity.
Step 1: Teacher Modelling and Sharing:
■■ Ask students to recall the value words discussed in the previous activity. Remind them that the value
words are posted on the word wall. Alternatively, they may have a list of these words in their Turning
Points Student Folder. Ask them to each think about a value word that is important to them.
Step 2: Small Group:
■■ Distribute the envelopes of value words used in Activity 1.
■■ Ask them to rank these value words in order of importance from most important to least important.
■■ Invite them to look at each value from both positive and negative perspectives. Ask: What happens
when you have too much of something or too little of something? For example, honesty is a positive
value, but is there such a thing as being too honest? How might this get you into trouble?
Step 3: Whole Class:
■■ Discuss the process they used in sorting the words. What kind of leadership emerged? What was the
most challenging part of the process?
■■ Check out the organizational patterns that groups chose. Were these patterns all linear or were there
webs and circle patterns as well? These webs are reflective of First Nations, Metis and Innu cultures. A
rich discussion about the difficulty of ranking values may ensue!
Grade Level Consideration:
■■ Select words within the vocabularies and understandings of your students. Elementary students may
work with a smaller number of words.
28 | Activities TURNING POINTS
Activity 3
Recognizing Positive Values in Others
Students consider someone well known and respected, identifying actions, characteristics, and qualities
that lead to this level of respect. Students explore the link between actions and values, considering that
when actions are consistent with values, we are being who we truly are, not someone that others expect
us to be.
Preparing for this activity…
Choose a real-life individual who is well known and well respected by your students. Each group
requires a large sheet of paper and coloured markers.
Step 1: Teacher Modelling and Sharing:
■■ Choose a real-life individual, well known and well respected by your students.
■■ Explain to students that we often see a person’s values in their actions.
■■ List and discuss the positive values and characteristics that you admire about this individual, ensuring
that students understand the difference between what they say/believe and what they do.
■■ Organize the list of characteristics in order of importance. Ask them whether they agree and why/why
not?
Step 2: Small Group:
■■ Ask students to think about people they admire and make a list of the character traits they admire.
■■ Ask them to organize their list of character traits in order of importance.
■■ Invite a representative from each group to share their list with the class and to explain the group’s
thinking.
■■ Post the lists on the wall and discuss the similarities and differences among the lists.
Step 3: Whole Class Consensus Building:
■■ Develop a master list that is accepted by everyone. Explain to students that when our actions,
characteristics, and values are consistent, we are being who we truly are, not someone else.
TURNING POINTS Activities | 29
Activity 4
Inferring Values from Actions through Literature
Students explore the link between what we value and observable actions in order to understand times
when either their own values and actions were consistent and aligned or inconsistent and incongruent.
Regardless of grade level, children’s literature in the form of picture books can be used to explore character,
actions, and values.
Preparing for this activity…
Choose a picture book or short story to share with your students. Prepare a large two-column chart for
use with students – you might use overhead, data projector, or chart paper to facilitate student viewing
(a sample is provided on page 32). Select and prepare a different Turning Points essay (narrative) for
each group, along with a two-column chart for student use (a sample is provided on page 33).
Step 1: Whole Class:
■■ Read a picture book or a short story that demonstrates values in action (a sample list is provided on
page 31). Before you read/view, provide a brief summary and ask students to predict possible actions
of the characters.
■■ After reading, develop a two-column chart with students to help them make the link between the
characters’ actions and the values these actions exemplify (Diagram: Column Headings: Actions,
Values).
Step 2: Small Group:
■■ Distribute to each group a different Turning Points essay (narrative) as well as a copy of the chart used
above.
■■ Ask each group to read the essay and identify the author’s actions as well as the values that are
exemplified.
■■ Post selected essays and charts around the room.
Step 3: Whole Class:
■■ Provide time in class for small groups to walk around and review posted essays and charts, discussing
how actions translate into values and how our values are reflected in our actions.
Grade Level Consideration:
■■ Ensure that the essays selected are age appropriate in order to facilitate maximum understanding of the
author, his/her actions, and his/her values.
■■ Secondary students could review picture books in small groups, looking at multiple characters.
30 | Activities TURNING POINTS
Literature that Highlights Values
Acceptance, Being Yourself, Diversity:
■■ The Name Jar, Yangsook Choi
■■ Marianthe’s Story: Painted Words and Spoken Memories, Aliki
■■ Crow Boy, Taro Yashima
Generosity, Cooperation, Respect:
■■ Stone Soup, Jon J. Muth
■■ The Giving Tree, Shel Silverstein
■■ Smoky Night, Eve Bunting
Responsibility, Compassion:
■■ Planting the Trees of Kenya, Claire A. Nivola
■■ Ms. Rumphius, Barbara Cooney
■■ Fly Away Home, Eve Bunting
■■ Rose Blanche, Roberto Innocenti
Patience, Perseverance:
■■ Thank You, Mr. Falker, Patricia Polacco
■■ Nokum is My Teacher, David Bouchard
Courage, Honesty, Integrity, Decision-Making:
■■ The Composition, Antonio Skarmeta
■■ The Three Questions, Jon J. Muth
TURNING POINTS Activities | 31
Picture Book or Media Text Two-Column Chart
Character’s Actions
Values of the Character
Cite specific things that the character did in the text Group character’s actions together in order to infer
what the character believes, thinks, and values
32 | Activities TURNING POINTS
Personal Narrative Two-Column Chart
Author’s Actions
Cite specific things that the author did in the text
Values of the Author
Group author’s actions together in order to infer
what the character believes, thinks, and values
TURNING POINTS Activities | 33
Activity 5
Inferring Values from Actions Using Media Texts
Students view and discuss media texts as a vicarious and living experience of values. Various purposes for
viewing will be established. Students will engage in a combination of pre-viewing, during viewing, and
post-viewing exercises.
Preparing for this activity…
Choose a media text or movie to prompt extended understandings and discussions and an approach to
viewing (i.e., pre-viewing, Values Chart, post-viewing, etc. (see pages 35-40 for examples ). Prepare
copies of selected activity for each student.
Step 1: Whole Class:
■■ Choose a media text or movie to prompt extended understandings of characteristics and values
through actions. Our suggestions include: Elementary: Akeelah and the Bee and The Karate Kid;
Secondary: Smoke Signals and Freedom Writers.
■■ There are multiple options for these media encounters. For individual media selections, there are previewing discussion questions and/or written assignments, Values Charts to guide viewing, and postviewing questions and/or follow-up assignments.
■■ Viewing Questions: Make sure to review pre-viewing questions prior to viewing, asking students
to make predictions based on personal experience. Post-viewing questions can be reviewed just after
viewing with time then provided for students to either write or reflect on responses prior to small group
work.
■■ Values Chart: Make sure to introduce the Values Chart on the next page. While viewing, ask students
to look for examples of how individual characters might show their values or characteristics through
their actions. For example, students might be asked to identify the value of trust. Who showed it?
When did they show it? And finally, how do they show that particular value?
Step 2: Small Group:
■■ Post-viewing, students can be divided into small groups and asked to discuss their responses, coming to
a consensus, making connections to personal experiences when relevant.
Grade Level Consideration:
■■ Choose media selections that use characters of relevant ages.
34 | Activities TURNING POINTS
Values Chart (for all texts)
TRUST
FAIRNESS
Who? ___________________________________________
Who? ___________________________________________
When? __________________________________________
When? __________________________________________
I show trust when I________________________________
I show fairness when I _____________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
SELF-DISCPLINE
PERSEVERANCE
Who? ___________________________________________
Who? ___________________________________________
When? __________________________________________
When? __________________________________________
I show self-discpline when I_________________________
I show perseverance when I_________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
RISK-TAKING
GENEROSITY
Who? ________________________________________
Who? ___________________________________________
When? _______________________________________
When? __________________________________________
I show risk-taking when I___________________________
I show generosity when I___________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
COURAGE
RESPECT
Who? ___________________________________________
Who? ___________________________________________
When? __________________________________________
When? __________________________________________
I show courage when I_____________________________
I show respect when I______________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
FORGIVENESS
HELPFULNESS
Who? ___________________________________________
Who? ___________________________________________
When? __________________________________________
When? __________________________________________
I show forgiveness when I__________________________
I show helpfulness when I __________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
Who?___________________________________________
Who?___________________________________________
When?__________________________________________
When?__________________________________________
I show_____________ When I_______________________
I show_____________ When I_______________________
________________________________________________
________________________________________________
TURNING POINTS Activities | 35
Viewing Guide: Smoke Signals
Pre-Viewing:
What is the worst thing you have ever done?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
“We kept each other’s secrets.” How has this been true for you?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
What might “travelling with heavy illusions” mean?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
“To get respect, you can’t trust anybody.” Do you agree? Why or why not?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
36 | Activities TURNING POINTS
Post-Viewing:
At the beginning of the film, Thomas says:
You know, there are some children who aren’t really children at all… They’re just pillars of flame that burn
everything they touch. And there are some children who are just pillars of ash, that fall apart if you touch
‘em. Me and Victor – we were children born of flame and ash.
What does Thomas mean by this metaphor?
___________________________________________________________________________________________
___________________________________________________________________________________________
This is an unusual and helpful way to describe children. Do you agree?
___________________________________________________________________________________________
___________________________________________________________________________________________
What are the values of the children of the flame?
___________________________________________________________________________________________
___________________________________________________________________________________________
What are the values of the children of the ash?
___________________________________________________________________________________________
___________________________________________________________________________________________
What if forgiveness were a person? Try writing a poem using personification.
Forgiveness is born of ________________________________________________________________________
Forgiveness looks like _________________________________________________________________________
Forgiveness wears ____________________________________________________________________________
Forgiveness sounds like _______________________________________________________________________
but then it sounds like _________________________________________________________________
_____________________________________________________________________________________
Forgiveness fears _____________________________________________________________________________
Forgiveness feels like _________________________________________________________________________
TURNING POINTS Activities | 37
Viewing Guide: The Karate Kid
Pre-Viewing:
This movie is about teachers and students among other things. One character says, “There is no such thing
as bad students – just bad teachers.”
What do you think he meant?
___________________________________________________________________________________________
___________________________________________________________________________________________
Do you agree? Why?
___________________________________________________________________________________________
___________________________________________________________________________________________
How would school be different if everyone believed this?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Everyone wants to have friends. Some say a true friend is a person who makes your life better. What makes
you a good friend?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Being still and doing nothing are two different things.
___________________________________________________________________________________________
___________________________________________________________________________________________
Do you agree? Why?
___________________________________________________________________________________________
___________________________________________________________________________________________
Can you think of times when you have done each of these things?
___________________________________________________________________________________________
___________________________________________________________________________________________
Which do you prefer: being still or doing nothing?
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
38 | Activities TURNING POINTS
Post-Viewing:
In the film, Dre Parker moves to China when his mother gets a new job. It takes a while before he feels “at
home.” Home is more than a building.
Imagine that “home” is a person and complete the following:
Home tastes like:
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Home looks like:
___________________________________________________________________________________________
___________________________________________________________________________________________
Home sounds like:
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Home smells like:
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Home feels like:
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
A house is not a home.
Every family has a story that it tells itself, that it passes on to the children and
grandchildren. The story grows over the years, mutates, some parts are sharpened,
others dropped, and there is often debate about what really happened. But even
with these different sides of the same story, there is still agreement that this is the
family story. And in the absence of other narratives, it becomes the flagpole that
the family hangs its identity from. – A.M. HOMES, 1999
TURNING POINTS Activities | 39
Activity 6
A Teacher in All of Us
Students identify the core values of those who have impacted on them most, the individuals who have
made a significant positive in their lives.
Preparing for this activity…
Prepare the statement: There is a teacher in all of us and a teacher for all of us in poster format, on
data projector, or on board. Choose a selection of essays, picture books, or media texts for students to
refer to (a list is provided below). Ensure that students are aware of correct letter writing formats.
Step 1: Whole Class:
■■ Post this statement for discussion purposes: There is a teacher in all of us and a teacher for all of us.
■■ Expose students to a variety of texts, including Turning Points essays, narrative picture books, or media
texts, that capture the impact of teachers on students.
• Turning Points Narratives: A Moment of Clarity (in your Teacher Resource Guide).
• Narrative Picture Books: Marianthe’s Story: Painted Words, Spoken Memories by Aliki; Crow Boy by
Taro Yashima; Nokum is My Teacher by David Bouchard; or Thank You Mr. Falker by Patricia Polacco).
• Media Texts: Elementary: Akeelah and the Bee; Secondary: Freedom Writers.
■■ Discuss with students the core values of the teachers in any of these texts.
Step 2: Independent Work:
■■ Invite students to reflect on an individual who has made a significant positive difference in their lives.
Ask them to brainstorm this individual’s values in action and the types of things they said, did, or
believed. Remind them that here we are not just talking about traditional teachers.
■■ Ask them to construct their writing as a letter to their favourite teacher (named or unnamed):
• Dear Teacher, Something I always wanted you to know is how one thoughtful gesture made you
become a hero in my young eyes.
• Dear Teacher, When you wrote that beautiful letter for me to submit with my application to…, you
encouraged me to try harder and never be satisfied with less than my best effort
40 | Activities TURNING POINTS
A Teacher in All of Us
Prompt: Reflect on an individual who has made a positive difference in your life (not just a traditional
teacher). Construct your writing as a letter to that person:
Dear ______________________,
Something I always wanted you to know is …
TURNING POINTS Activities | 41
Activity 7
A Tree Like Me
Students relate their values to the structure of a tree. Roots represent the origin of values, where they
came from, or where they are ‘rooted.’ The tree trunk represents their most solid values and inner beliefs,
the ones that do not sway greatly in the wind. And leaves and/or branches, represent their actions or how
they show their values. This is an ideal activity for naturalist learners.
Preparing for this activity…
Collect colour pictures of trees. There should be at least one picture for each group member.
Step 1: Whole Class and Teacher Sharing:
■■ Read aloud a picture book such as The Giving Tree by Shel Silverstein.
■■ Show students a tree that you feel is most like you. Explain why you have selected this tree.
Step 2: Independent and Think, Pair, Share:
■■ Ask students to find a tree that they can relate to. Ask them to study it in an effort to understand what
it is about this tree that they relate to.
■■ Invite others in the group to share and describe why they think someone chose a particular tree. Only
after the group has “guessed” will the student share their real reason.
■■ Invite students to share and describe their tree to a partner.
Step 3: Independent Work:
■■ Once students have shared their trees, ask them to think about how trees could be used to organize
their values, origins, and actions. Discuss how the roots of a tree are like the origin of their values
– where they came from; the trunk represents their most solid values - their inner beliefs; and the
leaves represent their actions or how they show their values.
■■ Give them time to fill in their tree images – labelling their roots, their trunk, and their leaves. Your
teacher resource guide has a sample black line master, but you might choose to encourage students to
draw and label their own trees.
42 | Activities TURNING POINTS
A Tree Like Me
TURNING POINTS Activities | 43
Activity 8
Understanding Ourselves, Our Values, and Our Traits
Students discuss why the person we present is often different than the person we truly are on the inside.
Dr. Seuss once said: “Today you are you, that is truer than true. There is no one alive, who is youer than
you.” The goal here is to help students to brainstorm who they really think they are and why they think
these ways.
Preparing for this activity…
Post the phrase, “Just be yourself” on the board. Each student will require a copy of the mindmap to
record their actions, thoughts and feelings (see page 45).
Step 1: Whole Class:
■■ Post “Just be yourself” on the chalkboard, and ask students what this statement means to them.
■■ Discuss reasons why we are not always “ourselves” and what might prompt people to change who
they are, or how others perceive them. Prompt by referring to popular culture figures such as Lady
Gaga, Justin Bieber, or characters they have encountered in literature whose internal sense of self
(i.e., their values) might be different from their behaviour (i.e., their observable characteristics).
Step 2: Independent Work:
■■ Invite students to brainstorm who they are, recording their characteristics on a mind map. Encourage
them to jot down actions, thoughts, or feelings that come to mind about people or situations related
to their characteristics. Students can add to their mind map as new ideas occur to them.
Step 3: Small Group:
■■ Encourage students to discuss what they have learned about themselves, which characteristics are most
significant to them, and whether this exercise has changed them in some way.
Grade Level Consideration:
■■ Secondary students could engage in small group discussion or Quickwriting (see Activity 13) in response
to Ralph Waldo Emerson’s quotation: “To be yourself in a world that is constantly trying to make you
something else is the greatest accomplishment.”
44 | Activities TURNING POINTS
Just Be Yourself Mind Map
Actions
Words
Just be yourself!
Today you are you, that
is truer than true.
There is no one alive,
who is youer than you.
– Dr. Seuss
Thoughts
Feelings
TURNING POINTS Activities | 45
Activity 9A
Gifts given and received
Students explore the meaning behind gift giving and receiving; and the relationship between the gift and
the act of giving.
Preparing for this activity…
You might bring in a number of wrapped presents - different sizes, shapes, in a variety of wrapping
papers. Locate a copy of a short story or essay about giving (e.g. O’Henry’s Gift of the Magi or the
Turning Points essay The Red Gloves found at the back of this resource).
Whole Class:
■■ Discuss what exactly a gift is. Is there a suitable definition? Sometimes the most valuable gifts are not
material ones, but maybe the gift of time or even talent. Ask students to think about an important gift
they remember. Did the gift change the relationship between the giver and the receiver? Do they belive
that it is better to give than to receive? How has this been true in their lives?
■■ After reading a short story or a narrative essay that focuses on giving, ask students to complete the
chart on the next page.
■■ A turning point may well be found in gift giving and some students may want to begin their own
narrative essay.
46 | Activities TURNING POINTS
Gifts as Turning Points
In the boxes below, list two gifts you have received and two gifts you have given.
Remember, not all gifts are things. There are also gifts of time and action.
Think about who was involved in the exchange.
What mattered to you? How was this gift a Turning Point for you?
What gift did you receive?
Who gave you the gift?
Why was this gift important?
What gift did you give?
Who did you give it to?
Why was this gift important?
TURNING POINTS Activities | 47
Activity 9B
Packing Positive Qualities in Self-Esteem Backpacks
Students are exposed to others’ perceptions of them, allowing them to see the consistency and between
their inner and outer selves. They will be encouraged to discuss what they learned about themselves, the
characteristics they feel are most significant, and whether Activities 8 and 9 changed their perception of
self.
Preparing for this activity…
Check the weather! Ideally, this is an activity that would be taken outside where you have space and
a quiet, peaceful environment. You will need to bring with you: a copy of the story to be read aloud
(note that several stories have been provided – you will need to choose the one that is the best fit
for your particular classroom community), a copy of a feather image for each student, tape to attach
images to back, and appropriate writing instruments (thin washable markers work best).
Whole Class:
■■ Set the classroom environment with soft lighting and quiet, calming music set in the background.
Alternatively, take them outside to a peaceful and quiet spot in nature.
■■ Ask students to close their eyes, and get comfortable.
■■ Help them to relax with either a moment of quiet or by counting backwards from 10.
■■ Read the Self-Esteem Backpack story to students.
■■ Once the story is finished and students have had a moment or two to reflect personally, ask:
• What were the great treasures that were placed in the backpack?
• How does each one guide us in our life’s journeys?
■■ At the conclusion of your discussion, explain to students that you are going enlist the support of their
peers to discover positive qualities they have in their metaphorical backpack.
■■ Each student will tape the page with an image of a feather on his/her back. Remind students that the
gift of feather from Eagle allows us to “always speak from the heart and speak the truth.”
■■ Ask the students to circulate and write a positive quality they have noticed/observed/experienced on
the paper on each person’s back.
■■ Once finished, provide time and opportunity for students to review their list of positive qualities.
■■ Ask students to highlight or circle the qualities that they find most surprising.
48 | Activities TURNING POINTS
Self-Esteem Backpack Story #1
Based on: Henley, Thom. Rediscovery: Ancient Pathways, New Directions, 1989. Western Wilderness
Committee: Vancouver, B.C. ISBN 0-9692230-3-x
Haida Gwaii’s Rediscovery focuses on the Haida culture. I have changed the setting from a rainforest to a
log cabin in the mountains.
Imagine yourself walking on a mountain, through deep snow. The air is crisp and with its blue-purple tinge,
the snow looks blue. You know your walk will take only a few more minutes. You are dressed warmly
enough, but you are grateful for the sun as it warms your face. The sound of silence is broken by the wings
of an eagle as it passes you by. In the distance you see the log cabin you are looking for. You hasten your
steps slightly and smile as you pick up some snow and throw it over yourself. When you reach the cabin,
you find the door unlocked as promised. As you enter the cabin, you smell the burning pine logs. You see
the harvest table and the kerosene lamp above the rocking chair and small bent-twig table. You remove
your hat, mitts, your boots and jacket; and walk towards the fire. Here you warm your hands and then sit
on the bear skin rug in front. It is then that you notice the red backpack under the table. The backpack has
your name on it. You find yourself magically drawn to it. When you look inside you see great treasures.
There is a gift from Raven, a beautiful dance-mask headdress to remind you of your curiosity and desire
to learn. You put the headdress on and suddenly you want to explore all things, to discover new people
and places, to learn more in every way about the world. Like the raven, your curiosity will never be fully
satisfied. Wear your raven headdress like a graduation cap and gown, even when others try to tell you that
you will not succeed.
Now you look again into your backpack, and find a gift from Eagle, a wing feather to give you the
courage to express yourself. When you hold the eagle feather you have no trouble speaking—even in
front of strangers. The feather reminds you that, like the eagle, you, too, are free, free to share with others
your feelings, your fears, your hopes and, yes, even your hurts. Remember to always speak from the heart
and speak the truth when you hold your feather. You put the eagle feather beside you.
There is another gift in your backpack—a painted bent-cedar box. The design on the box displays your
crest (or coat of arms) so you know this treasure is for you. Inside the box are two stones from Sea Otter
to remind you of your many skills and resources. Like the tool-using sea otter, who uses stones to crack
open urchins, mussels and clams, you, too, have many skills to help you in life. Remember to always be
expanding your skills, to fill your cedar box with more tools for life all the time. You put the box on the
floor beside you.
There something more in the backpack—a carved wooden bear pole. The little totem pole is a gift
from Grizzly Bear. It is to remind you of your strength and courage. There will be times in life when
you will need to draw on these powers to protect yourself and to do extraordinary tasks. Remember
that the strength and power comes from within and that even superior physical strength must be used
appropriately—like a mother bear defending her young or overturning a log for her cubs to eat insects. Use
your bear pole wisely. You put this totem pole next to the feather.
You reach down into the bottom of your backpack and find one final gift, so small that it was easy to over
look it until now: a shining copper medallion. It is a gift from the Earth to remind you to express your
choices. One side of the medallion has your face on it, the other side is blank. The two sides represent
your ability to say yes and no. Always wear your medallion proudly, for you are a totally unique and special
person. Show appreciation for yourself by wearing your face side of the medallion visible for all to see.
There will be times when your sense of self-worth will be challenged and people will not appreciate you for
who you are, or will try to make you do things against your will. Remember your ability to say no at such
times, and turn your medallion around. “That’s not me,” you will tell yourself. Remember, if you stay true
to yourself, you will never be false to another. You put the medallion around your neck.
Remember to always speak from the heart and speak the truth
when you hold your feather.
TURNING POINTS Activities | 49
It is now time to return each of the objects to the backpack. Carefully repack Raven’s dance-mask, which
reminds you of your curiosity. Next comes the Eagle feather and the courage that comes with it. Then, the
cedar box and its two stones, reminding you of your skills. Carefully return the little totem pole from the
Grizzly Bear which reminds you of your inner and outer strengths. And of course you will remember the
copper medallion that represents your ability to make choices that are right for you. Your backpack is once
more full. It is time for you to leave. You put on your boots, your jacket and your hat and gloves. Now take
a deep breath before you shoulder your pack, for you’ll be going on a long, long journey. Take a last look
around this special place before you close the door and begin your walk back down the mountain. The
pack is surprisingly light and very comfortable. That’s good. It will be easy to carry on your journey through
life.
50 | Activities TURNING POINTS
Self-Esteem Backpack Story #2
Self-Esteem Backpack uses cultural imagery from Metis and Plains First Nations
Based on: Henley, Thom. Rediscovery: Ancient Pathways, New Directions, 1989.Western Wilderness
Committee: Vancouver, B.C. ISBN 0-9692230-3x
Music Source: Snow packed Hideaway Spooner Lake: YouTUBE
A log cabin and its warm fire, located on a mountain would be the quintessential environment for this SelfEsteem Backpack exercise! However, it can be done using a relaxed voice and if you like, calming music.
If you can take students to a drama room, so much the better, but the exercise will work in a classroom…
Turn out the lights, have students put their heads on their desks and close their eyes. Ask them to breathe
slowly, relaxing each muscle one at a time while you count very slowly to ten. If you are using music, begin
it here. As in all creative visualization, your voice, mood and the power of suggestion will be the keys to
success in this exercise.
Imagine yourself walking on a mountain, through deep snow. The air is crisp and with its blue-purple
tinge, the snow looks blue. You know your walk will take only a few more minutes. You are dressed
warmly enough, but you are grateful for the sun as it warms your face. The sound of silence is broken by
the wings of an eagle as it passes you by. In the distance you see the log cabin you are looking for. You
hasten your steps slightly and smile as you pick up some snow and throw it over yourself. When you reach
the cabin, you find the door unlocked as promised. As you enter the cabin, you smell the burning pine
logs. You see the harvest table and the kerosene lamp above the rocking chair and the small square table.
You remove your hat and mitts, your boots and jacket; and walk towards the fire. Here you warm your
hands and then sit on the bear skin rug in front. It is then that you notice the red backpack under the
table. The backpack has your name on it. When you look inside you see great treasures.
There is a gift from Turtle-a turtle shell pouch. Inside the pouch you find four items to guide you in your
life’s journey. One is a smudge stick of sage. Burning this will allow you to clear away negative thoughts
and harmful energy. Secondly, there is a braid of sweet grass. Burning the sweet grass will allow you to let
in positive feelings and energy to fill your life. Also inside the pouch, you find two beads made from stones.
One is white to remind you to take time to be still and to feel tranquility and peace. The other stone bead
is red, reminding you of how important it is to take action after careful consideration.
You carefully return the four items to the turtle shell pouch, giving thanks for the reminder of balance and
harmony in your life and in the universe. You put the pouch beside you.
Now you look again into your backpack and you find a gift from Elk. It is an antler carving meant to help
you to be sensitive to signs of danger in your life. Thanks to Elk, you will be quick and agile, avoiding
danger while you keep your freedom. You place the antler on the floor beside you.
There is another gift in the backpack, a wing feather from Eagle. This feather will give you the courage
to express yourself. When you hold the eagle feather you will have no trouble speaking, even in front of
strangers. Like the eagle you too are free, free to share with others, your feelings, your fears, your hopes
and even your hurts. Sometimes this means standing up for yourself, but often it will mean speaking for
others who depend on you. Remember to always speak from your heart and speak the truth as you know
it when you hold the feather. You put the feather beside the antler.
When you look again into your backpack, you find a small carved bowl. This is a gift from Bear who
will bring you natural strength and bravery when you need it. You will be called upon to protect yourself
and others and to do extraordinary tasks. Remember that true strength comes from within- even physical
strength-and the Bear will help you to use your strength appropriately. You put the carved bowl next to the
feather.
Deep within the backpack you find a two-sided drumstick, a gift from Wolf. Wolf will show you how to
take advantage of change. The ability to adapt will require you to learn new skills and you will need to use
TURNING POINTS Activities | 51
your many talents and resources. Remember to always be expanding your skills so that you will be able to
face new situations with confidence. You put the drumstick into the bowl.
Towards the bottom of the backpack you find a piece of pemmican, and you smile at this gift from
Bison. You vow to remember that giving to others nourishes the giver and makes the giver strong. The
Greater Good is always the best, and like Bison, you will be willing to give all for the good of others, for
you share kinship with many. You put the pemmican into the bowl.
And then, at the very bottom of the pack, you find the final gift, so small it was easy to overlook it till now:
a shining silver medallion. It is a gift from Earth and it is to remind you to express your choices. One
side of the medallion has your face on it, the other side is blank. The two sides represent your ability to
say yes and no. Always wear your medallion proudly, for you are a totally unique and special person. Show
appreciation for yourself by wearing your face side visible for all to see. There will be times when your
self-worth will be challenged and people will not appreciate you for who you are or who you honor. Others
may try to make you do things against your will. Remember your ability to say no at such times and turn
your medallion around. Remember, if you stay true to yourself, you will never be false to another. You put
the medallion around your neck.
It is now time to return each of the items to the backpack. You pick up the antler carving, reminding you
of your agility and keen sense of awareness, and carefully put it back into the backpack. Then you return
the eagle feather, grateful for the courage it brings. Next you put back the pemmican while thinking how
important generosity is. As your return the two-sided drumstick you vow to develop your talents and
skills so that you will be ready to adapt to new situations. As you return the carved bowl, you honour
the understanding that true strength, physical or emotional, comes from within you. Of course you will
remember the copper medallion that represents your ability to make choices that are right for you. And
finally, you carefully re-pack the turtle shell pouch with its smudge sticks and stone beads reminding you of
the importance of balance and harmony, and honoring tradition.
Your pack is once more full. It is time for you to leave. You put on your boots, jacket , hat and gloves. Now
take a deep breath before you shoulder your pack, for you’ll be going on a long, long journey. Take a last
look around this special place, before you close the door and begin your walk back down the mountain.
The pack is surprisingly light and very comfortable. That’s good. It will be easy to carry on your journey
through life.
Remember to always speak from the heart and speak the truth
when you hold your feather.
52 | Activities TURNING POINTS
Self-Esteem Backpack Story #3
Self-Esteem Backpack uses cultural imagery from Anishnaabe and Cree First Nations
Meegwetch to the following guides who have shown the way towards the understanding of animal spirit
guardians:
Henley, Thom. Rediscovery: Ancient Pathways, New Directions, 1989. Western Wilderness.
Vancouver, B.C.
ISBN 0-9692230-3x
Johnson, Basil. The Nature of Animals. Native Voices. Ed. Freda Ahenakew. Toronto: McGrawHill. 1993. 30-38
Bouchard, David & Andy Everson. I am Raven. Vancouver: MTW Publishers. 2007
A small cabin and its warm fire, located on Tunnel Island would be the quintessential environment for
this Self-Esteem Backpack exercise! However, it can be done using a relaxed voice and if you like, calming
music. If you can take students to a drama room, so much the better, but the exercise will work in a
classroom…Turn out the lights, have students put their heads on their desks and close their eyes. Ask
them to breathe slowly, relaxing each muscle one at a time while you count very slowly to ten. If you are
using music, begin it here. As in all creative visualization, your voice, mood and the power of suggestion
will be the keys to success in this exercise.
Imagine yourself walking on Tunnel Island, through deep snow. There is a sense of place and a connection
to the land. The air is crisp and with its blue-purple tinge, the snow looks blue. You know your walk
will take only a few more minutes. You are dressed warmly enough, but you are grateful for the sun as
it warms your face. The sound of silence is broken by the wings of an eagle as it passes you by. In the
distance you see the small cabin you are looking for. You hasten your steps slightly and smile as you pick
up some snow and throw it over yourself. When you reach the cabin, you find the door unlocked as
promised. As you enter the cabin, you smell the burning pine logs. You see the harvest table and the
kerosene lamp above the rocking chair. You remove your hat and mitts, your boots and jacket; and walk
towards the fire. Here you warm your hands and then sit on the bear skin rug in front. It is then that you
notice the red backpack under the table. The backpack has your name on it. When you look inside you see
great treasures.
There is a gift from Turtle-a turtle shell pouch. Inside the pouch you find four items to guide you in your
life’s journey. One is a smudge stick of sage. Burning this will allow you to clear away negative thoughts
and harmful energy. Secondly, there is a braid of sweet grass. Burning the sweet grass will allow you to let
in positive feelings and energy to fill your life. Also inside the pouch, you find two beads made from stones.
One is white to remind you to take time to be still and to feel tranquility and peace. The other stone bead
is red, reminding you of how important it is to take action after careful consideration.
You carefully return the four items to the turtle shell pouch, giving thanks for the reminder of balance and
harmony in your life and in the universe. You put the pouch beside you.
Now you look again into your backpack and you find a gift from Caribou. It is a tiny toboggan meant to
help you to be sensitive to signs of danger in your life. Thanks to Caribou, you will be watchful, yet quick
and agile, avoiding danger while you keep your freedom. You place the toboggan on the floor beside you.
There is another gift in the backpack, a wing feather from Eagle. This feather will give you the courage
to express yourself. When you hold the eagle feather you will have no trouble speaking, even in front of
strangers. Like the eagle you too are free, free to share with others, your feelings, your fears, your hopes
and even your hurts. Sometimes this means standing up for yourself, but often it will mean speaking for
others who depend on you. Remember to always speak from your heart and speak the truth as you know
it when you hold the feather. You put the feather beside the toboggan.
When you look again into your backpack, you find a small birch bark basket. This is a gift from Bear who
will bring you natural strength and bravery when you need it. You will have times when you feel you are
TURNING POINTS Activities | 53
not good enough and that others will know it. Remember the Bear at these times and you will find the
courage to do extraordinary things. You will be called upon to protect yourself and others. Remember that
true strength comes from within- even physical strength-and the Bear will help you to use your strength
appropriately. You put the birch bark basket next to the feather.
Deep within the backpack you find a padded two-sided drumstick, a gift from Beaver. Beaver will show
you how to take advantage of change. To be a creator and a builder you will need the ability to adapt
and to learn new skills. Remember to always be expanding your skills so that you will be able to face new
situations with confidence. You put the drumstick into the basket.
Towards the bottom of the backpack you find a bird carving, and you smile at this gift from Loon. You
think of loyalty and vow to remember that giving to others nourishes the giver and makes the giver strong.
The Greater Good is always the best. You put the carving into the basket.
And then, at the very bottom of the pack, you find the final gift, so small it was easy to overlook it till now:
a shining silver medallion. It is a gift from Earth and it is to remind you to express your choices. One side
of the medallion has your face on it, the other side is blank. The two sides represent your ability to say
yes and no. Always wear your medallion proudly, for you are a totally unique and special person. Show
appreciation for yourself by wearing your face side visible for all to see. There will be times when your
self-worth will be challenged and people will not appreciate you for who you are or who you honor. Others
may try to make you do things against your will. Remember your ability to say no at such times and turn
your medallion around. Remember, if you stay true to yourself, you will never be false to another. You put
the medallion around your neck.
It is now time to return each of the items to the backpack. You pick up the model toboggan, reminding
you of your agility and keen sense of awareness, and carefully put it back into the backpack. Then you
return the eagle feather, grateful for the courage it brings. Next you put back carved bird while thinking
how important generosity is. As your return the two-sided drumstick you vow to develop your talents and
skills so that you will be ready to adapt to new situations. As you return the birch bark basket, you honour
the understanding that true strength, physical or emotional, come from within you. Of course you will
remember the copper medallion that represents your ability to make choices that are right for you. And
finally, you carefully repack the turtle shell pouch with its smudge sticks and stone beads reminding you of
the importance of balance and harmony and honoring tradition.
Your pack is once more full. It is time for you to leave. You put on your boots, jacket , hat and gloves. Now
take a deep breath before you shoulder your pack, for you’ll be going on a long, long journey. Take a last
look around this special place, before you close the door and begin your walk back down the path. The
pack is surprisingly light and very comfortable. That’s good. It will be easy to carry on your journey through
life.
54 | Activities TURNING POINTS
Self-Esteem Backpack Story #4
Self-Esteem Backpack uses cultural imagery from Mi’kmaq First Nation.
I am grateful to Muin’iskw @Kejimkujik National Park for help with these symbols and teachings.
Based on: Henley, Thom. Rediscovery: Ancient Pathways, New Directions. 1989.Western Wilderness
Committee: Vancouver, B.C. ISBN 0-9692230-3x
Music Source: Snow packed Hideaway Spooner Lake: YouTube
A log cabin and its warm fire, located on a mountain would be the quintessential environment for this SelfEsteem Backpack exercise! However, it can be done using a relaxed voice and if you like, calming music.
If you can take students to a drama room, so much the better, but the exercise will work in a classroom…
Turn out the lights, have students put their heads on their desks and close their eyes. Ask them to breathe
slowly, relaxing each muscle one at a time while you count very slowly to ten. If you are using music, begin
it here. As in all creative visualization, your voice, mood and the power of suggestion will be the keys to
success in this exercise.
Imagine yourself walking on a mountain, through deep snow. The air is crisp and with its blue-purple
tinge, the snow looks blue. You know your walk will take only a few more minutes. You are dressed
warmly enough, but you are grateful for the sun as it warms your face. The sound of silence is broken by
the wings of an eagle as it passes you by. In the distance you see the log cabin you are looking for. You
hasten your steps slightly and smile as you pick up some snow and throw it over yourself. When you reach
the cabin, you find the door unlocked as promised. As you enter the cabin, you smell the burning pine
logs. You see the harvest table and the kerosene lamp above the rocking chair and the small square table.
You remove your hat and mitts, your boots and jacket; and walk towards the fire. Here you warm your
hands and then sit on the bear skin rug in front. It is then that you notice the red backpack under the
table. The backpack has your name on it. When you look inside you see great treasures.
Right on top there are two items to guide you in your life’s journey. One is a smudge stick of sage.
Burning this will allow you to clear away negative thoughts and harmful energy. Secondly, there is a braid
of sweet grass. Burning the sweet grass will allow you to let in positive feelings and energy to fill your
life.
Under the grasses, there is a gift from Beaver, a beautiful beaded headband. It is to remind you of your
need for patience and hard work. Security will come to you when you honor Beaver’s lessons. You put the
headband beside you.
Now you look again, and you find a two-sided eagle feather. Eagle wants to remind you to look at both
sides of the feather. The one side reminds you of the gift of your mind and intelligence- your body and the
importance of action. The other side of the feather reminds you to also honor intuition, process and to
respect ceremony .Keeping a balance will bring harmony into your life, even in difficult times. This feather
will also give you the courage to express yourself. When you hold the eagle feather you will have no
trouble speaking, even in front of strangers. Like the eagle you too are free, free to share with others, your
feelings, your fears, your hopes and even your hurts. Sometimes this means standing up for yourself, but
often it will mean speaking for others who depend on you. Remember to always listen with your heart and
speak the truth as you know it when you hold the feather. You put the feather beside the headband.
There is another gift in the backpack, a small reed basket for fish-a gift from Otter. With this creel
basket, Otter reminds you of the importance of play. It is fun to stay curious and this can lead you to new
understandings not just in childhood, but well into adulthood. You put the basket beside the feather.
When you look again into your backpack, you find a small carved Bear. This is a gift from Bear who
will bring you natural strength and bravery when you need it. You will be called upon to protect yourself
and others and to do extraordinary tasks. Remember that true strength comes from within- even physical
strength-and the Bear will help you to use your strength appropriately. You put the carved bear next to the
creel basket.
TURNING POINTS Activities | 55
Deep within the backpack you find a gift from Red Hawk. It is a lovely quill box decorated with the shape
of a butterfly. The butterfly is to remind you of the power of transformation. You will carry this knowledge
with you as you struggle with change that seems difficult, knowing that out of apparent chaos comes
growth .You will learn how to take advantage of change. The ability to adapt will require you to learn new
skills and you will need to use your many talents and resources. Remember to always be expanding your
skills so that you will be able to face new situations with confidence. You put the quill box next to the
carved bear.
And then, at the very bottom of the pack, you find the final gift, so small it was easy to overlook it till now:
a shining copper medallion. It is a gift from Earth and it is to remind you to express your choices. One
side of the medallion has your face on it, the other side is blank. The two sides represent your ability to
say yes and no. Always wear your medallion proudly, for you are a totally unique and special person. Show
appreciation for yourself by wearing your face side visible for all to see. There will be times when your
self-worth will be challenged and people will not appreciate you for who you are or who you honor. Others
may try to make you do things against your will. Remember your ability to say no at such times and turn
your medallion around. Remember, if you stay true to yourself, you will never be false to another. You put
the medallion around your neck.
It is now time to return each of the items to the backpack. You pick up the beaded headband , then the
eagle father, and the small creel basket, and carefully place them in the backpack. Next you return the
quill box and the bear carving. Of course you will remember the copper medallion that represents your
ability to make choices that are right for you. And finally, as you carefully re-pack the smudge sticks you are
reminded of the importance of balance and harmony, and honoring tradition.
Your pack is once more full. It is time for you to leave. You put on your boots, jacket, hat and gloves. Now
take a deep breath before you shoulder your pack, for you’ll be going on a long, long journey. Take a last
look around this special place, before you close the door and begin your walk back down the mountain.
The pack is surprisingly light and very comfortable. That’s good. It will be easy to carry on your journey
through life.
56 | Activities TURNING POINTS
Self-Esteem Backpack Story #5
Self-Esteem Backpack uses cultural imagery from the Innu of Labrador
Tshinashkumitin to the following guides who have shown the way towards the understanding of animal
spirit guardians:
AigleBleu.net. Totem-animals
Henley, Thom. Rediscovery: Ancient Pathways, New Directions, 1989. Western Wilderness.
Vancouver, B.C.
ISBN 0-9692230-3x
A small hunting cabin and its warm fire, located along the coast line would be the quintessential
environment for this Self-Esteem Backpack exercise! However, it can be done using a relaxed voice and if
you like, calming music. If you can take students to a drama room, so much the better, but the exercise
will work in a classroom…Turn out the lights, have students put their heads on their desks and close their
eyes. Ask them to breathe slowly, relaxing each muscle one at a time while you count very slowly to ten.
If you are using music, begin it here. As in all creative visualization, your voice, mood and the power of
suggestion will be the keys to success in this exercise.
Imagine yourself walking on Nitassinan, the Big Land, along the coast line in a gentle snow, maybe in mid
November. There is a sense of place and a connection to the land. The air is crisp and with its blue-purple
tinge, the snow looks blue. You know your walk will take only a few more minutes. You are dressed
warmly enough, but you are grateful for the sun as it warms your face. The sound of silence is broken by
the wings of an eagle as it passes you by. In the distance you see the small hunting cabin you are looking
for. You hasten your steps slightly and smile as you pick up some snow and throw it over yourself. When
you reach the hunting cabin, you find the door unlocked as promised. As you enter the cabin, you smell
the burning logs. You see the harvest table and the kerosene lamp above the rocking chair. You remove
your hat and mitts, your boots and jacket; and walk towards the fire. Here you warm your hands and then
sit on the bear skin rug in front. It is then that you notice the red backpack under the table. The backpack
has your name on it. When you look inside you see great treasures.
There is a gift from Wolf, the great teacher. There are two items to guide you in your life’s journey.
One is a smudge stick of sage. Burning this will allow you to clear away negative thoughts and harmful
energy. Secondly, there is a braid of sweet grass. Burning the sweet grass will allow you to let in positive
feelings and energy to fill your life. Wolf also wants you to remember the importance of balance and
cooperation. You put the sticks beside you.
Now you look again into your backpack and you find a gift from Bear. It is a carving of a dancing bear
meant to remind you of the power of both the spiritual and physical. Remembering the healing power of
the bear will bring you natural strength and bravery when you need it. You will have times when you feel
you are not good enough and that others will know it. Remember the Bear at these times and you will find
the courage to do extraordinary things. You will be called upon to protect yourself and others. Remember
that true strength comes from within- even physical strength-and the Bear will help you to use your
strength appropriately. You put the carving beside the smudge sticks.
There is another gift in the backpack, a wing feather from Eagle. This feather will give you the courage
to express yourself. When you hold the eagle feather you will have no trouble speaking, even in front of
strangers. Like the eagle you too are free, free to share with others; your feelings, your fears, your hopes
and even your hurts. Sometimes this means standing up for yourself, but often it will mean speaking for
others who depend on you. Remember to always speak from your heart and speak the truth as you know
it when you hold the feather. You put the feather beside the carving.
When you look again into your backpack, you find a pair of tea dolls. This is a gift from caribou to
remind you of the importance of kinship and sharing with the elderly. Kinship includes not just your
immediate family, but your community and all of nature as well. You place the dolls beside the feather.
TURNING POINTS Activities | 57
Deep within the backpack you find a tiny birch bark toboggan, a gift from dog. Dog’s legacy is loyalty
and devotion which will help you through difficult storms in life. You think of loyalty and vow to remember
that giving to others nourishes the giver and makes the giver strong. You place the toboggan beside the
tea dolls.
Towards the bottom of the backpack you find a doll sized Naskapi, the caribou skin coat with its
designs that your people are known for. This gift from Turtle reminds you that patience will be rewarded
with wisdom. And that the Greater Good is always the best. As you are putting the Naskapi beside
the toboggan, you find a small piece of labradorite in its pocket. You smile at this gift of Aurora and
remember again, Bear the Healer. No matter what the pain may be, there is an answer in time and in the
frozen fire.
And then, at the very bottom of the pack, you find the final gift, so small it was easy to overlook it till now:
a shining copper medallion. It is a gift from Earth and it is to remind you to express your choices. One
side of the medallion has your face on it, the other side is blank. The two sides represent your ability to
say yes and no. Always wear your medallion proudly, for you are a totally unique and special person. Show
appreciation for yourself by wearing your face side visible for all to see. There will be times when your
self-worth will be challenged and people will not appreciate you for who you are or who you honor. Others
may try to make you do things against your will. Remember your ability to say no at such times and turn
your medallion around. Remember, if you stay true to yourself, you will never be false to another. You put
the medallion around your neck.
It is now time to return each of the items to the backpack. Remembering the lessons of each, you place the
caribou coat, the toboggan, the tea dolls, the feather, the bear carving and the smudge sticks carefully into
the backpack.
Your pack is once more full. It is time for you to leave. You put on your boots, jacket , hat and gloves. Now
take a deep breath before you shoulder your pack, for you’ll be going on a long, long journey. Take a last
look around this special place, before you close the door and begin your walk back down the path. The
pack is surprisingly light and very comfortable. That’s good. It will be easy to carry on your journey through
life.
58 | Activities TURNING POINTS
The Eagle Feather
Always speak from the heart and speak the truth.
TURNING POINTS Activities | 59
Activity 10
Identifying Personal Values
Students explore values that are important to them in their daily lives, representing their values in diverse
ways, not restricting them to words written on a page. Consistent with Gardner’s theory of multiple
intelligences, students are encouraged to choose a modality or representation style that best reflects their
personality, strengths, and uniqueness.
Preparing for this activity…
Have one or two sample representations available for student use (two examples have been provided
for you on the next page). Have diverse materials available for student use (e.g., collage materials,
computer, photographs, modelling materials, etc.)
Step 1: Teacher Modelling and Sharing:
■■ List five values that are important to you in your daily life. Use words familiar to your students.
■■ Select a value that is most important to you. Explore it fully with students – include its meaning, how
you practise it in your daily life. Print the word in a way that reflects its meaning.
■■ Brainstorm with students other ways that values can be represented; use Gardner’s theory of multiple
intelligences as a starting point. For example, the value could be represented:
• poetically and/or musically through a song, an oral story, a set of quotes, or a poem;
• visually through symbols, images, pictures, or paintings;
• naturally by finding things in nature that capture the essence of the value;
• intrapersonally by finding people in their lives or media who exemplify the value.
Step 2: Independent Work:
■■ Ask students to list five values that are important in their daily lives. Remind them that they can refer to
the words on the word wall or the list in their Turning Points Student Folder.
■■ Ask them to choose one value that is most important to them.
■■ Invite students to print the word in a way that reflects its meaning (see example on the next page).
Step 3: Whole Class:
■■ Provide time and opportunity for students to share their value representations with their peers.
■■ Post visual representations of values.
60 | Activities TURNING POINTS
Value Representation Examples
TURNING POINTS Activities | 61
Activity 11 (for secondary)
Constructing Belief Statements About Values
Students think in depth about what they believe about their value, ultimately helping them to “find their
story.” This activity requires more complex thinking and is, therefore, more appropriate for secondary
students.
Preparing for this activity...
Thought and preparation of value statements that can be used for explicit modelling
and demonstration.
Step 1: Teacher Modelling and Sharing:
■■ Select a value that is meaningful to you. Model for students how to construct belief statements about
your value:
• What I know to be true about [value] is…
■■ Complete this sentence five times in front of students, sharing your inner thoughts as you write each
one down.
■■ Each time you begin a new belief statement, recopy the sentence.
■■ Let students know that the first three statements often come easily, but the last two require more in
depth thought. If they are truly stuck and cannot find five belief statements, it likely means that the
value they selected does not have the level of significance they thought it did, and they should restart.
Step 2: Independent Work:
■■ Ask students to choose a value that is meaningful to them.
■■ Encourage students to construct a minimum of five belief statements about their selected value:
• What I know to be true about [value] is…
■■ Remind them that every time they begin a new belief statement, they should recopy the sentence.
■■ Provide time for students to reflect on these questions: How did I learn how this value works? How/
where did I develop my beliefs?
62 | Activities TURNING POINTS
Constructing Belief Statements about Values
Select a value that is meaningful to you. Construct five belief statements about your selected value.
What I know to be true about (value) is … Recopy the sentence and complete it five times.
1.
2.
3.
4.
5.
TURNING POINTS Activities | 63
Activity 12
Personal Experience Bank
Students think about the values they’ve learned in their lifetimes and events that might have been pivotal
in bringing about change or insights.
Preparing for this activity…
You will need an enlarged copy (overhead, data projector, poster) of Children Learn What They Live
(see the next page to copy for each student to facilitate shared reading.)
Step 1: Whole Class Discussion:
■■ Read as read aloud or through shared reading Children Learn What they Live by Dorothy Law Nolte
(widely available on the internet in both the original and condensed version). Discuss with students
what the poem means.
■■ Discuss the following questions with students:
• Do you think you were born the way you are or did you learn to be that way? If you learned, how did
you learn? Who helped you figure it out? If you have read Nokum is My Teacher by David Bouchard,
remind students of the boy’s experiences and questions.
• What experiences have taught you something? What did you learn from each one?
• Can small life events affect us as much as larger ones?
Step 2: Teacher Modelling and Sharing:
■■ Share a list of several events that were pivotal in your life. They may not always be happy times, but
they should be times that brought about change, a lesson, or a new insight. For example, a trip to a
foreign country, a mistake that became dangerous, failing to do the right thing.
Step 3: Independent Work:
■■ Ask students to complete a life line that reflects four or five pivital experiences in their life, and to list
the value(s) that were learned from each experience (see “Life Line”)
Step 4: Small Group:
■■ Ask students to share their list of meaningful experiences and lessons. Encourage them to see the
connections and commonalities in their lists.
64 | Activities TURNING POINTS
Children Learn What They Live
Dorothy Law Nolte
If children live with criticism,
They learn to condemn.
If children live with hostility,
They learn to fight.
If children live with ridicule,
They learn to be shy.
If children live with shame,
They learn to feel guilty.
If children live with encouragement,
They learn confidence.
If children live with tolerance,
They learn to be patient.
If children live with praise,
They learn to appreciate.
If children live with acceptance,
They learn to love.
If children live with approval,
They learn to like themselves.
If children live with honesty,
They learn truthfulness.
If children live with security,
They learn to have faith in themselves and others.
If children live with friendliness,
They learn the world is a nice place in which to live.
TURNING POINTS Activities | 65
Life Line
In the space below draw a life line. (The line does not have to be straight.)
Think of at least five important events in your life. These events do not have to be “milestones”, but they
do need to be moments you will always remember. The events will likely contain clues about what values
are important to you.
Locate each event on the life line.
Consider a symbol for at least one event.
Choose one of these events to begin your Turning Points essay.
66 | Activities TURNING POINTS
Activity 13
A Hundred Years From Now
Students reflect on what they may accomplish in their lifetime. – what may they experience, value and
learn on their journey?
Step 1: Teacher Modelling and Sharing:
■■ Discuss with students one or two detailed obituaries from the local paper. What do students notice
about the “accomplishments” of these people? According to their actions, what values did they live
by?
Step 2: Independent Work:
■■ Ask students to imagine the following scenario:
•A
hundred years from now, your descendants find an article about you in Wikipedia. What would the
article say? What kind of person were you? What did you do with your life? Is there a quote or action
that you are remembered by? Why were you interesting enough to be in Wikipedia?
■■ Invite students to write their Wikipedia entry in 300 words or less. Wikipedia style, they could have
their article reviewed and revised by one or two peers in their classroom community.
■■ In one paragraph, explain what the article says about your values.
Step 3: Small Group:
■■ Invite students to share their Wikipedia articles in small groups.
■■ Alternatively, ask students to think about what kind of footprint they would like to leave behind. They
may like to make some notes about that footprint inside the foot of the diagram that follows.
■■ Students may tape on their backs their completed diagram of the footprint. Students will then move
around the room, using markers to note on classmates’ footprints positive qualities they have observed.
Students are then encouraged to save these positive messages in a safe place for future reference.
TURNING POINTS Activities | 67
A Hundred Years From Now (activity page)
A hundred years from now, your descendants find an article about you in Wikipedia.
What would the article say?
What kind of person were you?
What was important to you?
Write your Wikipedia entry in 300 words or less. You may wish to transfer the entry to the footprint
illustration on the next page.
In one paragraph, explain what the article says about your values.
68 | Activities TURNING POINTS
Today and a hundred years from now: My Footprint
TURNING POINTS Activities | 69
Activity 14
Quickwriting
Students engage in timed Quickwriting in response to an image, a video clip, a quote, or something that
will prompt and stimulate thinking on a given topic. There is no purpose other than to pour thoughts and
ideas onto a fresh sheet of paper.
Preparing for this activity…
First, you will need to post the Guidelines for Quickwriting. On an ongoing basis, you will need to
select prompts for student writing. Samples have been provided on pages 71-72.
Step 1: Teacher Modelling:
■■ When you use this activity with students, we recommend writing at the same time students are writing.
The first time, you will likely have to demonstrate. On subsequent occasions, students will know what
to do and the activity will become a great warm-up or transition activity.
■■ Review and post the guidelines for Quickwriting for student reference (list from Natalie Goldberg’s
Writing Down the Bones)
• These are timed exercises. You will have between five and eight minutes only for each hot writing
exercise.
• You will be given a writing prompt. Write it down and go from there. Begin where you are. Whatever
is going on in your mind, start there.
• Do not worry or judge. Correct nothing. NO crossing out.
• Absolutely no stopping. Keep your hand moving.
• Don’t think. Don’t get logical.
• Note: If you can’t find a word or anything to say write “I don’t have anything to say,” or “I’m stuck.”
Repeat until the energy shifts!
• Quickwriting is never to be shared unless you want it to be.
• Never throw away any of these pieces. They often contain seeds for wonderful work later!
■■ Choose an image, a quote, a video clip, or something that will prompt and stimulate student thinking
on a given topic or value. Once the stimulus has been encountered, invite students to engage in
Quickwriting on the topic.
Step 2: Independent Work:
■■ Write!
Step 3: Whole Class or Small Group:
■■ Invite individual students to share their writing. This is optional and need not occur all the time.
Note : Recognize that at times there will be students who insert sketches, lists of words, or images to
support their writing. As well, some students may think and write better with technology than on paper –
provide computers and/or digital recorders for these students in order to encourage the free flow of ideas.
70 | Activities TURNING POINTS
Quickwriting Narrative Prompts
A Childhood Experience:
You can remember something that you learned for the first time, a person who was extremely important in
your life, a special event or a trip you might have taken.
Achieving Something:
There can be an important achievement that you would remember. This can range from anything as simple
as getting good grades in a difficult test, or it can be something more important like getting your first job.
A Struggle or a Failure:
There could be a struggle or a failure in your life that you now remember as a good experience. When you
focus on such an experience, it can help you discover the positives that you have achieved in your life after
that experience.
A Mistake:
There could be a mistake that you made that helped you to learn something new. While it was
uncomfortable at the time, it can now help you to better understand yourself.
An Action, A Good or Bad Deed:
There can be an important point in your life when you did a good thing for someone. It can even be a bad
deed where you shouldn’t have done it.
A Changing Moment:
Find a moment when your life took for some major changes. This can include the death or birth of
someone, a loss in relationship, switching schools, or moving from one location to another.
A Realization:
This is often something that forces you to learn a life lesson or something about yourself: it could be
something as seemingly trivial as understanding a math problem, or more insightful like why a friend/
sibling/parent/world is the way it is.
TURNING POINTS Activities | 71
Quickwriting Quotation Prompts
Elementary
Dr. Seuss: Today you are you, that is truer than true. There is no one alive, who is youer than you.
Dr. Seuss: Why fit in when you were born to stand out?
Dr. Seuss: Be who you are and say what you mean. Because those who mind don’t matter and those who
matter don’t mind.
Lady Gaga: I’m beautiful in my way; ‘Cause God makes no mistakes; I’m on the right track, baby; I was
born this way.
Walt Disney: If you can dream it, you can do it.
Thomas Edison: I haven’t failed. I’ve just found 10 000 ways that won’t work.
Secondary
Ralph Waldo Emerson: To be yourself in a world that is constantly trying to make you something else is
the greatest accomplishment.
Winston Churchill: Courage is what it takes to stand up and speak; courage is also what it takes to sit
down and listen.
Pierre Trudeau: My life is one long curve, full of turning points.
72 | Activities TURNING POINTS
Quickwriting
Prompt:
Response on the topic:
TURNING POINTS Activities | 73
MINI-LESSON ACTIVITIES
Mini-Lesson 1
The Personal Narrative Essay – What is it?
Students are introduced to the nature of personal narratives and their distinguishing characteristics.
Students will listen to a Turning Points essay and discuss and label its characteristics, details, and lesson
learned.
Preparing for this mini-lesson…
Choose one personal narrative and enlarge on overhead, photocopier, SmartBoard, or data projector in
order to facilitate student viewing. An example is provided on the next page for your reference.
Focus:
■■ Defining personal narratives and understanding their characteristics.
Process:
■■ Define personal narrative with students by first defining personal as having to do with oneself and
narrative as telling a story. Personal narrative is, therefore, a story about yourself, and in this case
involves a turning point in your life.
■■ Read a narrative that would appeal to your students (e.g., Little Red Gloves by Julia Dobrowolski).
Discuss, analyze, and label the characteristics of personal narratives:
• T hey can be told in first person (e.g., I / me / we).
• They tell the story of something that happened to the author (one event), not a life story.
• T hey are usually told in chronological order with a clear beginning, middle, and ending. They often
use transition words to help show the passage of time (e.g., then, later, the next day).
• T hey are written with sensory details and vivid descriptions that involve the reader. These details relate
in some way to the author’s purpose.
■■ Like a story, they have characters, a setting, a meaningful event, that is often composed of: a problem,
a solution, and actions that help them to solve the problem.
■■ Unlike a pure narrative, the narrative essay includes reflection about the significant event.
■■ Ask students to identify the meaningful event, some of its details, and what they learned from it.
Application to Writing Process:
■■ Students need to understand the form and purpose of a personal narrative before they begin to write.
Some students may need additional guidance when they begin to draft.
TURNING POINTS Activities | 75
Characteristics of Personal Narratives
Greater Toronto Area winners
Julia Dobrowolski
Clear beginning
First Place
Toronto District School Board
Little Red Gloves
First person point of
view: me, I, my, we
T
he Salvation Army building in Regent Park scared
me the first time I saw it. A large barbed wire fence
surrounded the parking lot, and there was garbage
piled up outside the door. It was a PA day in December
and my mom was taking my sister and me to work with
her at the Salvation Army.
We carried heavy bins full of donated toys as we
headed up the stairs. When we got to the top my mom
was greeted by countless people, all with big smiles and
red aprons. It was the annual Christmas center, where
the people in the community could come in and pick out
donated gifts for their children. Weeks had been spent
setting up and you could tell, the whole place looked
beautiful.
They tell the story of
something that happened
to the author (one event),
not a life story.
Sensory details and
vivid descriptions:
• A large barbed wire
fence... Garbage piled up
• Heavy bins full of
donated toys
• Big smiles, red aprons
8
76 | I found out I was going to be a personal shopper,
someone who helps people find gifts. My first customer
was a mom, picking out presents for her six year old
daughter. After she chose a Barbie doll and a stuffed
animal, I led her towards the table that had adult gifts on
it. Everyone who came in got a gift, to show them that
they aren’t forgotten. When I handed her a pair of little
red gloves she almost started to cry because she was so
happy.
That’s when I had my turning point. I go on three
vacations a year and I’m never as grateful as this woman,
and all she got was one small pair of gloves. It’s amazing
that something that small could make such a big difference.
I thought to myself “What if all I got for Christmas was a
pair of red gloves?” Then I had an idea; it doesn’t matter
how many presents you get, because the presents you give
are more important. When I looked back at the building as
I was leaving, I didn’t see scary barbed wire fences or lots
of garbage, I saw the spirit of Christmas.
Turning Points: Winning Essays 2012
Activities TURNING POINTS
Clear ending
Mini-Lesson 2
Meaningful and Authentic Feedback
Students are provided with a framework and guidelines that will allow them to deliver meaningful and
authentic feedback in all phases of the writing process. TAG – Tell what you like; Ask questions; Give
suggestions is a framework that can help students deliver respectful and growth-oriented feedback in ways
that build student confidence and establish positive conditions for learning and writing.
Preparing for this mini-lesson…
Duplicate a feedback framework such as the Guidelines for Peer Feedback: TAG (on page 78) for
each student. Ask them to keep this in their Turning Points Folder for ongoing reference.
Focus:
■■ Delivering feedback in the spirit of growth and respect.
Process:
■■ Explain to students that the true purpose of dialogue and feedback is to help the author see their
writing from a fresh perspective, strengthening the writing by confirming, clarifying, or adding details.
■■ Introduce a feedback framework such as TAG: Tell what you like; Ask questions; Give suggestions.
■■ Post guidelines for peer feedback for ongoing reference (see next slide).
■■ Ask students to turn to a partner and provide feedback.
Application to Writing Process:
■■ Students need to know how to deliver meaningful and authentic feedback at all phases of the writing
process. Delivering feedback in the spirit of growth builds student confidence and establishes positive
conditions for learning and writing.
TURNING POINTS Activities | 77
Guidelines for Peer Feedback: TAG
Tell what you like
■■ I like your description of . . .
■■ I think the words . . . are interesting because . . .
■■ I like the ending because . . .
■■ I like it when the main character . . .
■■ I think it is interesting when . . .
■■ I like the part where . . .
■■ I like it when you say . . .
Ask questions
■■ How did the . . .?
■■ Who is the . . .?
■■ Where will the . . .?
■■ Why did . . .?
■■ What happened to . . . ?
■■ What made you decide to . . .?
■■ Where did you get the idea for . . .?
Give suggestions
■■ I think it would be more exciting if . . .
■■ You could add more information about . . .
■■ I would like to know more about . . .
■■ Your ending might be more interesting if . . .
■■ Perhaps you could tell more about . . .
(Parr & Campbell, 2012, p. 93)
78 | Activities TURNING POINTS
Mini-Lesson 3
Piecing Together Themes and Details
Students are encouraged to piece together themes and details from their reflective thinking pieces in an
effort to find their story and get ready to write their personal narrative. This is an effective pre-writing/
rehearsal activity that allows students to review and make use of previous work.
Preparing for this mini-lesson…
Students will require access to their Turning Points folders (Appendix 1) and sticky notes and/or
highlighters to keep track of and make note of themes and details they might want to use in their
narratives.
Focus:
■■ Finding and piecing together themes and details from their reflective thinking pieces.
Process:
■■ Explain to students that in all of the activities they have been doing (i.e., Module 2 activities), they
have been exploring stories, events, and values that they can use in the development of their personal
narrative.
■■ Ask them to review their Turning Points Student Folder, looking for an event or story that they returned
to on multiple occasions. Let them know that this is likely where their personal narrative or Turning
Point will be found. Some students may find more than one - help them to determine the event that
held the greatest learning for them.
■■ Provide students with sticky notes and/or highlighters, and ask them to review their folder and tag/
highlight interesting themes, details, quotations, words, dialogues, etc. that they think might be useful
as they begin to plan their personal turning point narrative.
■■ Invite students who are comfortable with sharing to turn to a partner and share what they found
in their folders, identifying a meaningful event, some of its details, and what they learned from it.
Encourage them to ask meaningful and respectful questions of their peer that will help them to extend
their insights.
Application to Writing Process:
■■ An oral pre-writing/rehearsal activity that helps students to piece together their stories from previous
reflective work. Some will find this easier than others. The more time spent at rehearsal, the easier it
will be for students to sit down and draft.
TURNING POINTS Activities | 79
Mini-Lesson 4
Turn to a Partner and Rehearse
Students are provided with time and opportunity to first plan their story using a Personal Narrative
Template and second rehearse their story orally with a partner. This oral pre-writing/rehearsal capitalizes on
intrapersonal intelligence, as well as appealing to auditory learners.
Preparing for this mini-lesson…
You will need to select a picture book for review and to discuss as a whole class. Students will require
access to their Turning Points folders (Appendix 1) and a narrative organizer that will allow them to
record notes they might want to use as they orally rehearse their stories
(see page 81).
Focus:
■■ Planning and orally rehearsing a personal narrative.
Process:
■■ Read aloud a picture book or essay that clearly models and demonstrates the essential elements of
a personal narrative (e.g., problem, solution, characters, setting). Enlarge the narrative organizer on
overhead, photocopier, SmartBoard, or data projector in order to facilitate student viewing. Discuss
and analyze the text as a whole class.
■■ Explain that they can use words, pictures, details, quotations, etc. to plan their personal narratives;
encourage them to review their Turning Points Student Folder for inspiration. Remind them that they
are not ‘writing their story’ but planning and rehearsing it. Ask them to think about their Turning Point
and the lesson learned.
■■ Ask students to turn to a partner and tell their story, using their narrative organizer as a starting point.
This requires active and engaged listening. Remind students that they may not change the story in the
retelling, but they can ask questions to clarify details and enhance understanding. Ensure that both
students have ample time to tell and retell stories.
■■ Allocate time for students to return to their narrative organizers, adding in details or clarifying as
needed.
Application to Writing Process:
■■ This oral pre-writing/rehearsal activity capitalizes on intrapersonal intelligence, as well as appealing to
auditory learners. Students may also digitally record conversations and stories.
80 | Activities TURNING POINTS
Narrative Organizer
Characters
Setting
Who was in the story?
Where did the story take place?
Make sure to include yourself.
When did the story take place?
Solution/Lesson:
How was the problem
solved?
What was the lesson
learned?
Actions:
Problem:
What was the main conflict in the story?
What took place during the story
that helped to solve the problem?
TURNING POINTS Activities | 81
Mini-Lesson 5
Vivid Descriptions
Students add sensory details and description to their personal narrative in order to further describe an
event and draw the reader/listener in, capitalizing on Maya Angelou’s words: “I’ve learned that people will
forget what you said, people will forget what you did, but people will never forget how you made them
feel.”
Preparing for this mini-lesson…
Choose a media clip or text to use as a model for vivid description. We have used the video clip I am
Home from Freedom Writers. This would be appropriate for use at the elementary or secondary level.
Focus:
■■ Adding detail and description to the personal narrative.
Process:
■■ Explain to students that in personal narratives, we can add sensory details to describe an event and
draw the reader/listener in. Ask them to think about these questions: What do they see (or what is
being done)? What do they hear (or what is being said)? What do they smell? What do they taste?
What do they feel or touch? What do they think?
■■ Post and discuss Maya Angelou’s words: “I’ve learned that people will forget what you said, people will
forget what you did, but people will never forget how you made them feel.”
■■ View the I am Home clip from Freedom Writers with students. Discuss the use of sensory details and
vivid description; for example
• What does he see? His mother gasping for air, clothes from last year.
• What does he hear? A phone call; an apology; a hard knock on the door.
• What does he feel? A tight embrace; his mother’s tears hitting his shirt like bullets; like throwing up.
• What does he think? That he is going to get laughed at; that he has no home; that he is home.
■■ Invite students to review their personal narratives for descriptive writing, and place the sticky notes to
identify vivid description in their writing or noting areas and ways to revise. If they are stuck, encourage
them to review their Turning Points Student Folders.
Application to Writing Process:
■■ Adding detail and description is best done within the context of writing – drafting or revision – where
description can be anchored in their own work as opposed to simply talking about it.
82 | Activities TURNING POINTS
Mini-Lesson 6
Documenting Dialogue
Students explore how to add dialogue to their personal narrative in order to make a point, emphasize
emotional reactions, provide detail, make the narrative more interesting, and guide the reader through the
story.
Preparing for this mini-lesson…
Choose one personal narrative and enlarge on overhead, photocopier, SmartBoard, or data projector in
order to facilitate student viewing. An example is provided on page 84 for your reference.
Focus:
■■ Understanding how dialogue functions in a personal narrative.
Process:
■■ Explain to students that dialogue can be added to make a point, emphasize emotional reactions,
provide detail, make the narrative more interesting, and guide the reader through the story.
■■ Show students how dialogue is used in one or two Turning Points narratives (e.g., Afraid to Forgive by
Allisha Bertrand; Miracles Happen by Kaitlyn Chubb).
■■ From a technical standpoint, ensure that students understand the four main rules of using dialogue:
• Always use quotation marks when someone is speaking.
• E nsure that dialogue is properly punctuated with proper placement of upper case letters, commas,
periods, exclamation marks, and question marks (which always come inside the quotation marks).
• S ignal your reader that someone is speaking. Avoid using the same words, like ‘said’ repeatedly. Use
signal words and phrases that capture your speaker’s voice, making it natural and fluent.
•C
hange paragraphs as speakers change and jump back into your narrative after dialogue. Dialogue is
intended to interrupt the narrative for a brief moment to add richness and detail to the story.
■■ Invite students to return to their personal narratives, looking at ways that they have used dialogue or
could add it for emphasis. Encourage them to pay close attention to their dialogue punctuation.
Application to Writing Process:
■■ Understanding how dialogue functions is best done within the context of writing – drafting or revision
– where they can anchor their learning in their own work as opposed to simply talking about it.
TURNING POINTS Activities | 83
Applying Dialogue Rules
Newfoundland and Labrador winners
Miracles Happen
a. quotation
marks are
used.
b. punctuation
is used
appropriately
S
ilence, but for the faint hum of
machines and the steady drip of
intravenous tubes. My mother had
just stepped back into the room and all
eyes were riveted upon her. Nobody
stirred.
“What did the doctor say,
Mommy?” I looked in the direction of the
hospital bed, where the little voice had
issued forth. There sat my seven-year-old
sister, back straight and eyes determined.
She stared my mother down, who bit
her lip and said nothing. “Mommy,” the
voice grew in sternness and maturity, until
it could have been uttered by the most
courageous of adults. “What did the
doctor say?”
I could just barely remember a time,
only four days previous, when we had
laughed with a lightness of heart, when
we had chattered with a freedom of
spirit, and when we had played freely,
without a care in the world. I watched
our final moments of peace replay across
d. paragraph
the backdrop of my mind,
and with a
change
should
have
trepidation that creased my
nine-yearhappened
here
with
old brow, I saw yet again the beach
that
the switch from Linny
served as the scene of our
tragedy.
I
to Vicky
saw the dangerous abundance of zebra
mussels and my sister plunging into the
waves without her water shoes on. I saw
the blood that poured from a tiny cut
on her wet foot. I saw her foot swell to
twice its size and turn a disturbing shade
of mauve. I saw her lying in a hospital
bed, tiny amongst the mass of pillows
and sheets. I saw the days pass, as we
waited in eternal hope.
I grew up in those days of waiting.
Twice a day, Victoria was made to
soak her foot in a saline solution. I was
present only once for this ritual and I soon
found out why. My five year old sister,
Linny, and I were told to wait outside, so
we sat on a hospital bench, silent, our
eyes downcast. Horrifically, a sudden
continuous scream reached our ears and
slashed our insides. Vicky’s cry of agony
could have been that of one being slowly
and torturously ripped apart. Before
Linny and I could do more than cast fearfilled glances at each other, the door to
my sister’s room was swung open with
so much force that it almost bounced off
the wall. My father hurried out and sped
down the hall, his eyes blinded by a thin
glaze of tears. My daddy is a firefighter. I
had never seen him cry.
The hours pressed on. We three
sisters were hardly left alone together. I
will never forget the one time that we
were. Our parents and many visitors had
slipped out somewhere, so Linny and I
gathered around Vicky’s bed. “I wish it
was me and not you,” my littlest sister
proclaimed with so much sincerity in
her eyes that it could have melted even
the stoniest heart. “No, Linny,” scolded
Vicky. “I’m older; I’m glad it happened
to me.” “It shouldn’t have happened to
anyone!” I proclaimed, vehemently. “It’s
not fair.” Vicky only looked at me, as if to
say, “What is?”
“Mommy,
tell
me,”
Victoria
demanded, bringing me back to the
present with a ringing authority that
dared our mother to defy her. Mom
didn’t dare. Drawing herself up, she
spoke the truth. “The doctor says that
they’ve figured out what’s wrong.” She
paused, but at an expectant look from my
sister, continued. “He said that... that...
the poison is making its way to your heart
and that... the only way to stop it is to...
to amputate your foot.”
c. signal
words
Speaker 1
- Linny is
identified
Speaker 2
- Vicky is
identified
- sometimes
referred to as
Victoria.
Turning Points: Winning Essays 2012
84 | Activities TURNING POINTS
149
Mini-Lesson 7
Reactions and Reflections
Students learn how to make use of reactions and reflections to their personal narrative. Reactions include
what a person says or does as a situation or event is experienced. Reflections include what a person thinks
about the event after it’s over or their key learning.
Preparing for this mini-lesson…
Choose a media clip or text to use as a model for vivid description. We have used the video clip
depicting the National Spelling Bee competition from Akeelah and the Bee. This would be appropriate
for use at the elementary or secondary level.
Focus:
■■ Differentiate between reaction and reflection.
Process:
■■ Prepare sets of two images that capture different views of the same event (e.g., winning a lottery,
doing well on a test, losing a pet).
• Image 1 represents individuals’ reactions to an event. Ask: What is the individual saying and doing?
What are the other people saying or doing?
• Image 2 represents individuals’ reflections on an event. Ask: What do you think the individual is
thinking about? What are the other people thinking?
■■ Set a purpose for viewing the video clip from Akeelah and the Bee by discussing the following
questions with students:
• Is it important for you to do your best? Why?
• Have you ever intentionally not done your best? Why?
■■ Show students the video clip from Akeelah and the Bee where Akeelah deliberately misspells a word
that her opponent knows that she can spell. Ask: What is Akeelah saying and doing? What is she
thinking? What is Dylan saying or doing? What is he thinking?
■■ Explain to students that reaction is what a person or character says or does as a situation or event is
experienced. Reflection is what a person thinks about the event after it’s over – it’s what makes the
story important or what a person has learned – sometimes referred to as a maxim.
Application to Writing Process:
■■ Throughout the process, encourage students to check in with their writing to see if they have written
both reactions and reflections; if not, challenge them to include them.
■■ You might choose to pair this up with Mini-Lesson 9: Finding the Lesson (the Maxim).
TURNING POINTS Activities | 85
Mini-Lesson 8
Engaging Introductions
Students experience how and why engaging introductions are crucial to effective writing. They are
encouraged to think of it this way... you have about 15 seconds and 50 words to convince your reader that
you’re important and funny and original and worth listening to for the next 10 or 15 minutes.
Preparing for this mini-lesson…
Choose introductions from multiple Turning Points narratives and enlarge on overhead, photocopier,
SmartBoard, or data projector in order to facilitate student viewing. An example is provided on
page 87 for your reference.
Focus:
■■ Identifying and writing engaging introductions. Engaging introductions are critical in convincing the
reader that the writing is important, original, well-written, and worth reading or listening to.
■■ Engaging introductions might:
• make a direct statement of topic
• comment on a story or parable
• use a maxim, proverb, or quotation
• establish a conversation with your reader
• describe an unusual (interesting, funny,
painful, awkward, etc.) person, place, or thing
• create a metaphor or an analogy
• create drama
• establish juxtaposition
• establish irony
• tell a joke
• make an outrageous statement
• describe a role model
Process:
■■ Read three or four engaging openings to students. Ask students whether they would like to continue
reading/listening and why.
■■ Provide them with the list of engaging introductions and ask them to identify which ones are being
used by the authors.
■■ Explain that the author has about 15 seconds and 50 words to capture the attention of its audience
and make them want to continue reading or listening.
■■ Using enlarged copies of the introductions (overhead, photocopies, SmartBoard, data projector),
identify and label the strategies that the authors used to hook their audience’s attention. Examples are
provided on page 87.
Application to Writing Process:
■■ Most students will draft their introductions as they begin to write. Returning to their introductions
toward the end of the writing process will better position them to write inviting and engaging
introductions. You may choose to pair this up with Mini-lesson 9: Finding the Maxim.
86 | Activities TURNING POINTS
Engaging Introductions to Share with Students
The Boy with the Broken
Glasses
I
watched him as he deared away the
restaurant tables. He didn’t recognize me,
and I was thankful he hadn’t. Memories of
our childhood flashed before me. Some were
happy, but one memory brought back pain
-- the pain of how our friendship had ended.
Afraid to Forgive
Create drama
I
t’s been then long years. I will never accept
an apology. I could not hate anyone more
than him. A coward. He doesn’t put
forth any effort to be my life and then he
comes into it and expects me to love him?
He thinks I’m obligated to love him, but love
is not automatic; but then again, neither is
hate. Then years of hate, bulding strnger and
stronger. There is nothing that man could do
to make me forgive him. My dad.
Tell a seemingly
random anecdote
Man of the Moon
I
was once married to the moon. It was
beautiful. With the door locked and the
curtains closed, I would spend weeks in
solitude, hungrier than ever, but there was not
much to be found in the fridge. I just stayed in
Make an
outrageous
statement
TURNING POINTS Activities | 87
Mini-Lesson 9
Finding the Lesson (the Maxim)
Students are encouraged to find the lesson learned through the writing of their personal narrative and
help them to capture it in a maxim. A maxim is defined as a short, memorable phrase or quotation that
expresses a general truth about life, a fundamental principle, or a rule about behaviour. For example,
“Actions speak louder than words.”
Preparing for this mini-lesson…
Select one or two Turning Points essays that make effective use of maxims. Once students understand
the concept, they will then require access to the Internet or books of quotations and proverbs.
Focus:
■■ Helping students to capture the lesson learned or maxim.
■■ A maxim is defined as a short, memorable phrase or quotation that expresses a general truth about life,
a fundamental principle, or a rule about behaviour (e.g., Actions speak louder than words).
Process:
■■ Explain to students that the greatest reason for writing a personal narrative is to discover, examine, and
understand situations and events that shaped the person they are today. Because some of what we
learn are general truths or rules for behaviour, we can often find well known phrases or quotations that
can strengthen our writing by stating succinctly what was learned.
■■ Show students how maxims are used in one or two Turning Points essays. For example,
• In The Show Must Go On, Sara Power uses a common phrase to title her story and then carries the
metaphor throughout her Narrative Essay as an organizational framework for emphasis.
• In Hope, Katie Brewer-Bruce precedes her story with “Actions speaker louder than words,” which
provides the reader with a preview or teaser of what they might find in the narrative.
■■ Once they’ve reviewed their personal narrative and identified their key learning, encourage them to
research and read common proverbs and/or quotations that capture their lesson learned.
■■ Ensure that students credit phrases or quotations to the original speaker.
Application to Writing Process:
■■ This mini-lesson works at the beginning of the writing process to get students thinking; it is also
an effective way to engage students in active revision. Pair up with Mini-Lesson 7: Reactions and
Reflections and Mini-Lesson 8: Engaging Introductions.
88 | Activities TURNING POINTS
Selected Maxims (proverbs, truisms) to Discuss with Students
■■ Actions speak louder than words.
■■ Don’t count your chickens before they hatch.
■■ Don’t cry over spilled milk.
■■ A stich in time saves nine.
■■ Don’t cross a bridge before you come to it.
■■ People in glass houses shouldn’t throw stones.
■■ A rolling stone gathers no moss.
■■ All that glitters is not gold.
■■ Nothing ventured, nothing gained.
■■ Things are not always what they seem.
■■ The first cut is the deepest.
■■ You can’t judge a book by its cover.
■■ Honesty is always the best policy.
■■ Practice makes perfect.
■■ A chain is no stronger than its weakest link.
■■ Where there’s a will, there’s a way.
■■ If at first you don’t succeed, try, try, try again.
Note about Maxims:
The world operates on spiritual and moral principles just as it does on the laws of physics and gravity. These
principles or universal truths are often expressed in proverbs, wise sayings or maxims that we use all the
time and that we perhaps don’t even pay attention to, such as, “You are only as good as your word,” or
“To have a friend, you must be one.” These proverbs help us remember important life lessons. If you are
having trouble getting started, try basing your essay on a maxim that applies to a turning point in your
life, i.e. “Honesty is the best policy.” or “Don’t cross a bridge until you come to it.” or “If at first you don’t
succeed, try, try again.”
Or, after you have written your essay, write your own maxim that captures the message in your turning
point. When you submit your essay, the maxim should be written just below your title. Acknowledge the
author of the maxim, if known. For example, “You must be the change you wish to see in the
world.” – Mahatma Gandhi
TURNING POINTS Activities | 89
Mini-Lesson 10
Wearing the Editor’s Cap
Students are provided with formal structures to format and edit their personal narratives. Revision and
editing checklists and a student rubric are provided for student use.
Preparing for this mini-lesson…
Computer template should be installed on classroom computers, if not already provided (see
page 91). Rubric, revision, and editing checklists should be duplicated for each student (see page
24, page 92, page 93), if not already part of their Turning Points Student Folder.
Focus:
■■ Formatting and editing the personal narrative
Process:
■■ Using overhead, photocopier, SmartBoard, or data projector in order to facilitate student viewing,
discuss the Personal Narrative Template and the Editing Checklist.
■■ Ideally, students have had access to the Personal Narrative Template since they first inputted their
personal narrative into the computer. If they are still working with handwritten copies, ensure that they
transcribe their stories directly into the Template.
■■ Ask students to first review their personal narrative on their own, making use of the Editing Checklist.
Ask them to keep track of questions they might have or things they are unsure of.
■■ Assign students editing partners (ensure that you have paired a student with strong conventions with
one who is striving). Ask them to review each other’s Personal Narratives, making use of the Editing
Checklist. Ask them to keep track of questions or things they are still unsure of.
■■ Circulate, noting these questions and uncertainties to be addressed in the whole group once student
editing is complete. Deliver additional mini-lessons as required.
Application to Writing Process:
■■ This mini-lesson is best delivered at the end of writing, prior to sharing. We do not want students
pre‑occupied with editing when their dominant focus should be getting their ideas on paper.
■■ There may be some students who are uncomfortable sharing their personal narratives with peers. In
such cases, the teacher may act as the “editor”.
■■ While all students are expected to complete the essay writing process, some may not wish to enter the
Turning Points contest. Those who do wish to have their essays considered may so indicate on their
final draft.
90 | Activities TURNING POINTS
The Personal Narrative Template
Preparing …
Ensure that the computer template is installed on classroom computers, if not already provided.
You will only put your name here when submitting to your teacher. When submitting to
The Learning Partnership, your name will be on your cover sheet.
Title of Your Turning Points Narrative
Maxim (optional)
This is an example of what your personal narrative should look like. When you edit, ensure
that the format of your personal narrative is similar to this document.
All text must be printed clearly in a 12-point sans-serif font (such as Arial) with 1.5 linespacing. Your student information should be centred at the top of your first page. Do not repeat
your header on each page.
Make sure you always indent for a new paragraph. You do not need to skip any extra
lines. The indent itself is enough to show the start of a new paragraph.
Check that you have written your narrative in first or third person and applied this
consistently throughout your writing. If you began in the first person (I), this needs to be carried all
the way through. The same applies to the use of third person (he or she).
As you proofread your narrative, refer to the editing checklist (distributed in class). Check
for such things as: level of language, word choice, use of transitions and other linking devices,
sentence length and structure, paragraphing, and flow of ideas.
Lastly, ensure that your essay is free of spelling, grammar, and punctuation errors and that
you have followed Canadian spelling and writing conventions. You can set your computer to check
for Canadian spelling. If you’re not sure how to do this, ask for help.
When you save your essay, please use the title of your essay. For example, Reach for the
Moon. Do not use My Turning Point Essay as the title of your file.
TURNING POINTS Activities | 91
Revision Checklist
Goal
My introduction engages my readers and draws them
into my narrative.
The purpose of my narrative is strong and clear.
I have woven together narrative elements including
point of view, vivid description powerful message/
theme.
My ideas are fully developed and linked to my
narrative’s purpose
I have made connections between my personal
experiences, the development of my values, and my
personal growth.
My narrative is clear, coherent, and unified, with a
logical sequence of ideas.
I have used strong words to create clear, vivid pictures
and make my writing come alive and skillfully reveal
characters’ appearance, actions, feelings, and reactions
I have included rich details that vividly describe my
turning point.
I have used dialogue to support the purpose and
message of my narrative.
I have included both reflections and reactions of those
involved in my narrative.
Comments
92 | Activities TURNING POINTS
Ways to Improve My
narrative
Date
Achieved
Editing Checklist
Goal
Self
Peer
Teacher
The first person is used consistently.
Word and language use is appropriate for the
audience.
Effective use of transitions and other linking
devices.
Sentence length and structure are varied.
Paragraphing is effective and enhances the
flow of ideas.
Narrative is free of spelling, grammar, and
punctuation errors.
Canadian spelling and writing conventions
are followed.
Narrative is printed clearly in a 12-pt sans
serif font with 1.5 line spacing.
Title is relevant and intriguing.
Comments
TURNING POINTS Activities | 93
APPENDIX 1:
Turning Points
S T U D E N T F O L D E R T E M P L AT E
STUDENT FOLDER
Student’s Name: _________________________________________________
A Bank of Value Words
acceptance
advocacy
alertness
attentiveness
availability
benevolence
boldness
bravery
caring
cautiousness
citizenship
commitment
compassion
conservation
contentment
cooperation
courage
creativity
decisiveness
dependability
deference
dependability
determination
diligence
discernment
discretion
empathy
endurance
enthusiasm
fairness
faith
flexibility
forgiveness
freedom
generosity
gentleness
gratefulness
honesty
honour
hospitality
humility
humour
independence
initiative
integrity
joyfulness
justice
kindness
kinship
leadership
love
loyalty
obedience
observant
orderliness
patience
perseverance
persuasiveness
pride
punctuality
respect
resourcefulness
responsibility
risk-taking
self-discipline
security
self-control
sensitivity
service to others
sharing
sincerity
spirituality
thoroughness
thriftiness
tolerance
trustworthiness
truthfulness
virtue
wisdom
Selected Maxims
Actions speak louder than words.
A rolling stone gathers no moss.
Don’t count your chickens before they hatch.
All that glitters is not gold.
Don’t cry over spilled milk.
Nothing ventured, nothing gained.
A stich in time saves nine.
Honesty is always the best policy.
Don’t cross a bridge before you come to it.
Practice makes perfect.
People in glass houses shouldn’t throw stones
If at first you don’t succeed, try, try, try again.
Revision Goals
Editing Goals
• My introduction engages my readers and draws
them into my narrative.
• The first or third person is used consistently.
• The purpose of my narrative is strong and clear.
• I have woven together narrative elements including
point of view, vivid description powerful message/
theme.
• My ideas are fully developed and linked to my
narrative’s purpose.
• I have made connections between my personal
experiences, the development of my values, and my
personal growth.
• My narrative is clear, coherent, and unified, with a
logical sequence of ideas.
• I have used strong words to create clear, vivid
pictures and make my writing come alive and
skillfully reveal characters’ appearance, actions,
feelings, and reactions
• I have included rich details that vividly describe my
turning point.
• I have used dialogue to support the purpose and
message of my narrative.
• I have included both reflections and reactions of
those involved in my narrative.
96 | Activities TURNING POINTS
• Word and language use is appropriate for the
audience.
• Good use of transitions and other linking devices.
• Sentence length and structure are varied.
• Paragraphing is effective and enhances the flow of
ideas.
• Narrative is free of spelling, grammar, and
punctuation errors.
• Canadian spelling and writing conventions are
followed.
• Narrative is printed clearly in a 12-pt sans serif font
with 1.5 line spacing.
• Title is relevant and intriguing.
Student Rubric for Personal Narrative Writing
Categories
4 (80-100%)
3 (70-79%)
Name:
2 (60-69%)
1 (50-59%)
Knowledge and Understanding (40%)
• Purpose
• The writer relates a single
unforgettable personal
experience.
• The writer recounts a single
interesting personal experience.
• The writer recounts a single
personal experience.
• The writer needs to focus on one
personal experience.
• Narrative Format
• Narrative elements are skillfully
woven together (e.g., point of
view, powerful message/theme).
• Narrative elements are woven
together (e.g., point of view and
message/theme).
• A minimally developed narrative
plot line is provided with an
unclear message/theme.
• A more developed understanding
of the narrative form is required.
• S ensory Details/
Narrative Devices
• Many rich details (e.g., anecdotes,
dialogue, sensory information)
are used to create a clear sense
of the main characters’ thoughts,
actions, and appearances.
• Range of devices (e.g., suspense,
dialogue, action, and insightful
reflection) are used to support
author’s description of turning
point and skillfully advance the
plot.
• Rich details (e.g., anecdotes,
dialogue, sensory information)
are used to create a sense of
the main characters’ thoughts,
actions, and appearances.
• Devices such as suspense,
dialogue, action, and insightful
reflection are used to support
author’s description of turning
point and advance the plot.
• Attempts to use details (e.g.,
anecdotes, dialogue, sensory
information) but with minimal
effectiveness.
• The writer has included some
details (e.g., anecdotes, dialogue,
sensory information) that do not
relate to the story.
• Some devices such as suspense,
dialogue, action, and insightful
reflection are used to support
author’s description of turning
point and advance the plot.
• There is little or no use of
narrative devices.
• The writer makes strong and clear
connections between personal
experience, development of
values, and personal growth.
• The writer makes clear
connections between personal
experience, development of
values, and personal growth.
• The writer makes some
connections between personal
experience, development of
values, and personal growth.
• The writer makes limited
connections between personal
experience, development of
values, and personal growth.
• The writer’s voice captures the
experience well; it is authentic,
clever, and entertaining.
• The narrative skillfully reveals
the writer’s attitude about the
personal experience.
• The writer skillfully engages and
entertains/informs reader.
• The writer’s voice sounds natural;
it is confident, authentic, and
entertaining.
• The narrative reveals the writer’s
attitude about the personal
experience.
• The writer interests and
entertains/informs reader.
• The writer’s voice could be
stronger; at times, it is detached
from the narrative.
• The writer’s attitude about the
personal experience is vague.
• The writer needs to show more
feelings in their writing.
• Strong nouns, verbs, and
modifiers create clear, vivid
pictures and make the writing
come alive.
• Words or phrases powerfully
convey the intended message
and skillfully reveal characters’
appearance, actions, feelings,
reactions, and dialogue.
• Specific nouns, verbs, and
modifiers help create clear
pictures and express feelings.
• Stronger nouns, verbs, and
modifiers would create clearer
pictures.
• Many more specific nouns, verbs,
and modifiers are needed to
create clear pictures.
• Some interesting, unique words
and phrases convey the intended
message and reveal characters’
appearance, actions, feelings,
reactions, and dialogue.
• More precise words and phrases
are needed to convey the
intended message and reveal
characters’ appearance, actions,
feelings, reactions, and dialogue.
• Words and phrases are used
inappropriately or unnecessarily
repeated, interfering with the
intended message.
• Sentences are complete and flow
smoothly.
• Variety is seen in both the
types of sentences and their
beginnings.
• A variety of transition words
and phrases are used effectively
to guide the reader through the
story.
• Sentences are complete and most
flow smoothly.
• Some variety is seen in types of
sentences and their beginnings.
• Most sentences are complete and
most read smoothly.
• Little variety is seen in sentence
types.
• Short and choppy, or long and
cumbersome, sentences need to
be rewritten to make the essay
read smoothly.
• A variety of transition words and
phrases are used to guide the
reader through the story.
• Some transitions are used but
readers have to make some
connections on their own.
• Transitions are awkward, or
some transitions are overused,
confusing the reader at times.
• Self and Values
Communication(30%)
• Awareness of
Audience and Voice
• Word Choice
• S entence Fluency
Organization • The writer informs reader.
• The writer’s attitude about
the personal experience is
undetermined.
• Unclear sense of voice, purpose,
and/or audience.
(20%)
• Overall Structure
• The narrative has a strong,
engaging introduction.
• There is effective sequencing of
ideas skillfully linked to theme.
• The narrative contains a unifying
conclusion that reinforces the
theme and gives closure.
• The narrative has an engaging
introduction.
• There is logical sequencing of
ideas linked to theme.
• The narrative contains a
conclusion that reinforces that
the theme and gives closure.
• The narrative has a beginning,
middle, and ending.
• Sequencing of ideas requires
some revision in order to
reinforce purpose and theme of
the narrative.
• The order of events needs to be
stronger with a clearer link to the
purpose and theme of the narrative.
• Paragraph Structure
• Effective paragraph breaks are
utilized throughout.
• Effective paragraph breaks are
used through most of the story.
• Paragraph breaks are used
through some of the story.
• Story is arranged with too many
or too few paragraph breaks.
Conventions and Presentation (10%)
• Conventions
• Punctuation, spelling, and
grammar/usage, are applied
correctly.
• Checklists were used skillfully
and effectively.
• The essay has few errors
in punctuation, spelling, or
grammar/usage.
• Checklists were used effectively.
• The essay has several errors
in punctuation, spelling, or
grammar/usage.
• Checklists could be used more
effectively.
• Some errors in punctuation,
spelling, or grammar/usage
confuse the reader.
• The writer needs support to use
checklists.
• Presentation
• Narrative is presented in
suggested format (proper essay
font size and style).
• Narrative is close to suggested
format, using proper essay font
size and style.
• Narrative has at least one aspect
of proper formatting that was not
followed.
• Narrative has several formatting
errors. It may be presented in an
inappropriate font or style.
Ten Tips for Writing a Personal Narrative (Essay)
Start early.
An early start gives you time to revise and rewrite the essay. Putting it away and taking it out after a few
days can give you a fresh perspective. Don’t put yourself under the pressure of a time crunch.
Choose your topic carefully.
List a number of possible topics and then some key points for each one. Decide which topic has the most
potential. If you feel strongly about your topic, it will come alive in the essay.
Outline what you want to say.
Brainstorm all the ideas you want to include. Then go back over the list and highlight the key points you
want to cover. Number them in an appropriate sequence.
Develop an engaging introduction.
Once you’ve chosen an appropriate approach to use, for example, a quotation, a rhetorical question, or a
brief description of the event, decide how you can use it to draw the reader in.
Write the rough draft.
Use your outline to address each key point. Concentrate on content, use descriptive language, and give
clear examples. Don’t worry about being perfect at this stage.
Revise what you have written.
Use a critical eye. Read your work aloud to hear the flow of the language. Is the essay interesting and well
organized? Does it give a good picture of who you are? Will what you say and the way you said it interest
the reader? Get feedback from others.
Rewrite your essay.
Incorporate any needed changes. Add sensory details, descriptive language, dialogue, reflections and
reactions, and or examples. Read your essay to your parents and anyone else who will critique it honestly.
Edit the final draft.
Go through the essay and check the mechanics — grammar, spelling, sentence structure, style, required
format, and tone. Make sure nothing detracts from the finished product. Use checklists and formats
provided in class.
Proofread, proofread, proofread.
Don’t do it alone. Have someone else read your essay. Don’t rely too much on computer spell‑check
programs.
Take one last look.
Check for details again. Is the essay clean? Is the print clear and easy to read? Pretend you are reading the
essay for the first time. Does it make the impression you intended?
98 | Activities TURNING POINTS
APPENDIX 2:
Essay Contest Judging
TURNING POINTS Activities | 99
Overview for Judges
Overall Impression
The writer recounts a single personal experience that signifies a turning point in his/her life and makes
connections between the experience and the development of his/her values and personal growth.
The writing is clear and concise and includes all of the elements of a personal narrative.
The writer skillfully employs a range of literary devices, vocabulary and language structures to engage/
inform the audience throughout the text from beginning to end.
Specific Criteria
The text includes:
■■ an opening paragraph that captures the interest of the reader
■■ a concluding paragraph that unifies, brings closure, or summarizes the narrative
■■ a clear indication of a personal experience, a turning point, that is linked to feelings, actions, reactions
and the development of character and values of the writer, not simply an event in the writer’s life
■■ rich details to create a sense of the main characters’ thoughts, actions and appearances
■■ the effective use of dialogue where appropriate to advance the narrative
■■ a clear reflection of the writer’s voice (point of view and attitude about the experience)
■■ effective sequencing of ideas to support the writer’s description of the turning point to skillfully
advance the plot
■■ strong nouns, verbs and modifiers that create clear, vivid pictures
■■ words and/or phrases that powerfully convey the intended message
■■ a variety of sentence types
■■ correct punctuation, spelling and grammar usage
100 | Activities TURNING POINTS
Scoring Sheet
Essay Title ..................................................................................................... ID Number ............................
Categories
Knowledge &
Understanding
40%
Indicators
Actual Score
• a clear indication of a personal experience, a
turning point, that is linked to feelings, actions,
reactions and the development of character and
values of the writer, not simply an event in the
writer’s life
• rich details to create a sense of the main characters’
thoughts, actions and appearances
• the effective use of dialogue where appropriate to
advance the narrative
• a clear reflection of the writer’s voice (point of view
and attitude about the experience)
Communication
30%
• strong nouns, verbs and modifiers that create clear,
vivid pictures
• words and/or phrases that powerfully convey the
intended message
• a variety of sentence types
• an opening paragraph that captures the interest of
the reader
Organization
20%
• effective sequencing of ideas to support the writer’s
description of the turning point to skillfully advance
the plot
• a concluding paragraph that unifies, brings closure,
or summarizes the narrative
Conventions and
Presentation
• correct punctuation, spelling and grammar usage
10%
Total
TURNING POINTS Activities | 101
APPENDIX 3:
Procedures for Submission to
The Learning Partnership
Submitting Your Essay Electronically
Step 1: Go to The Learning Partnership website
• www.thelearningpartnership.ca
Step 2: Go to What We Do at the top of the screen
Step 3: Scroll down to Turning Points under Student Programs
• Click on [Turning Points].
Step 4: Go to the Turning Points Essay Contest Entry Form
• Look for the [Turning Points Essay Submission] graphic on the right hand side.
Step 4
Fo
rm
Step 1, 2 and 3
102 | Activities TURNING POINTS
APPENDIX 4:
Turning Points
Award Winning Essays
www.tlpresources.ca/tp-anthology-2013/index.html
TURNING POINTS Activities | 103
The Learning Partnership
It’s Never That Simple
I
t was always an unintentional goal in my life to be seen as someone other than myself. Even distant
relatives have fond memories of me at a younger age, running across the field between houses,
each time in a different outfit. The very moment I started school, theatrics were a refuge. There was
nothing quite as freeing as being on a stage, acting as someone else, speaking someone else’s words.
There was no comfort to be found in the alternative, the actual life I led. Try as I might, I did not
fit in. I was not the person everyone said I should be, and who I wanted so desperately to be. Whether
it was the clothing, the hair, the makeup, the femininity in general, none of it fit. Every time I conformed to the standards it felt like drag, like a caricature of who I should be instead of who I really
am. I had some people around me who knew loneliness, but they did not understand what I felt. How
could they? Even I didn’t understand what I felt.
In the middle of high school, surrounded by people who truly identified with my struggle on
that vast, varying landscape that is the internet, I found one simple phrase that would change my life:
“Gender is a social construct.” There’s not only male and female, but an infinite number of non-binary
genders just waiting to be explored and tried on like shoes until you find the right one. No longer was
I “not a boy, so I must be a girl,” I was non-binary. I am non-binary. I slowly came to understand that
gender isn’t chosen or dictated by anyone other than yourself.
Even for people who never question their gender, definitions vary without them even noticing.
Each woman has her own definition of her gender, just as every man. When asked to explain what
makes someone a “man” or “woman,” it becomes abundantly clear that there is no set definition and
even those two genders have grey area. Nonetheless, their gender was never a source of discomfort
and so they had no reason to question this. To me, my gender was always a source of pain, but I tried
to grin and bear it.
I began my own research into being transgender almost immediately, and I was astounded by
the variation and sense of belonging I found in the community. There are so many different non-binary
identities, many of which I contemplated before reaching my conclusion. I stumbled upon the neutrois
identity when I was researching what it means to be agender. “Agender” just wasn’t sitting right, since
they have no gender at all. The problem was that I have a gender; it’s just neutral. It took quite some
time before I found the word “neutrois,” but almost immediately I knew. Nonetheless, the research
and personal contemplation that it took for me to reach that gender was empowering in itself, and I
can easily say that I know more about myself now than I did before this inner journey. Being neutrois,
quite simply, feels like the perfect fit. It’s who I am, and the simple truth of gender not being an eitheror concept seems so straightforward obvious now that I’ve heard it and lived it.
Imagine a world where children are taught this simple fact, in which people are allowed to grow
up knowing their gender is their own choice, instead of something forced upon them. I see a world
with inhabitants comfortable in their own bodies, free to express themselves in the ways that feel best
for them. But we don’t have that world. Our world is full of bigotry and danger, especially for transgender people.
It terrifies me.
It scares me to know that my average life expectancy is 23. It frightens me to know that a disproportionate number of transgender people are murdered, and that 49% of transgender people attempt
suicide. It outrages me to know that misinformation leads directly to distrust, and that ignorance leads
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demonstrably to violence. And knowing this, fearing this, makes me all the more determined to help
rather than hide. My gift for public speaking and empathy makes it easy for me to convey my thoughts,
and I will use that to amplify not only my own voice but the voices of those seldom regarded.
I know this is the right choice every time someone calls me my chosen name, every time someone
uses my proper pronouns, and especially every time someone tells me they’ve learned from me. Every
time I’m told this, any doubts I might have had about what path my life is taking fly out the door. Activism has called me. I’ve grown a lot from that small child, dressing up to avoid who they are told they
should be, and pretending to be who they aren’t.
Even so, I still love a good game of dress up from time to time.
A Second Chance in Life
I
was starting elementary school in September, 2001. It was exciting; new school, friends, adventures, and another step in life. I attended Public School 194 in Bronx, New York. The school was just
down the street from where I lived. My mother would walk me to school every morning and kiss me
goodbye. When she picked me up, she would buy me an ice cream from the ice cream truck. Eating my
ice cream, walking towards my home, I would hear the hollering of elated children rejoicing that school
had ended for the day. I felt as though I was the luckiest child in the world. At seven years old, once
full of life, love, and innocence, I was able to have the freedom to play with friends of different backgrounds without being judged. I was once accepted for who I was and what I looked like. Like the ice
cream my mother would buy me, I will savoir the cool, sweet taste of those moments, although they
did not last long. My life changed in the blink of an eye.
On September 11, 2001, I was in school, sitting on “The Magic Carpet” as my teacher read
Superfudge by Judy Blume. Suddenly, the phone rang and a student left the class. Another phone call
came and another student left, then another, then another. The constant flow of students leaving the
class sent a chill down my spine. It was then my turn to leave. I got my things from my cubby, and saw
both my parents waiting for me. “Why are they both here?” I wondered. They drove me home; something was not right. The television was turned to CNN, I remember seeing the headline “TERRORIST
ATTACK!” I asked my mother, “What’s a terrorist?” She did not answer. There was smoke and debris
displayed everywhere on screen. I recognized the area of the Twin Towers and noticed that one was
missing. I watched, not fully understanding the seriousness of what was happening. All of a sudden I
heard my mother cry, “Jesus, help them!” Twin Tower II collapsed. This was the end of the World Trade
Center.
Everything changed after that day. It was chaotic. “Those damn Muslims”, I would hear people
say as my mother walked me to and from school. I returned to school, but something was different.
My classmates did not speak to me. They looked at me in disgust. For weeks, I was constantly bullied.
I would hear comments such as “terrorist,” “She’s the bomb!”, and “Saddam’s daughter.” “Who was
Saddam?” I thought. The day I went back to school, I sat on the carpet alone. My belongings were
constantly vandalized. I never told my parents or my teachers what was happening, because I did not
want my classmates to get into trouble. I thought they would stop, but they never did. This provocation continued for a long time. Inside, I became infuriated. I hated Muslims, but more than that I hated
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myself. Although I was not Muslim, my last name, Sahadat, instantly made people think that I was.
The name is derived from the Arabic Shahada, which means the creed of Islam. The color of my skin,
my hair, and my eyes all contributed to this misconception. I never fought back. My parents instilled in
me Gandhi’s teachings of non-violence and Jesus’ lessons in the Bible: if someone strikes you, turn the
other cheek. I forgave my classmates; however, I had no cheeks left to turn.
I suppressed my anger for as long as I could but, like the Twin Towers, I collapsed. In the seventh
grade, I had my first crush. I was humiliated when the words, “I’m not into terrorists” came from him.
When I got home that night, in anger, I threw away my favorite pink shirt. I took my mother’s makeup
and smeared it onto my face. I cut a part of my hair into bangs. I started to wear revealing clothing,
and developed a terrible attitude. I gave myself a complete makeover for the worst.
I began standing up for myself. Nobody dared to make fun of me anymore. I got into numerous fights. I would get frustrated easily, yell at teachers and curse in the hallways. I felt empowered. I
turned into a typical “Bronx girl.” In the ninth grade, I started cutting school. I got into drugs, alcohol,
and partied non-stop. My morals and belief in God vanished. While skipping school, I went to a club. I
asked myself, “What am I doing here?” Makeup was smeared on my face and sweat dripped down my
chest into my shirt. “What happened to me?” Something clicked.
I knew that I had to get my life back in order. Without discussing it with anyone, I sent an e-mail
to my Aunt and Uncle; I asked if I could live with them in Canada. I knew I had to get out of the Bronx
as fast as I could. Graciously, they both agreed, and so did my parents. In August 2009, I arrived in
Canada. I registered in Grade 10 at Marymount Academy, in the city of Sudbury, Ontario. I am now in
Grade 11, and I am enjoying every moment of it. I am deeply touched to see how loving and accepting
people are in this country. Although I had never let my guard down for a long time, I eventually discovered that I did not need one. I began to realize who I was, and from where I came. In the years following the terrorist attack, I suffered terrible racism, disrespect, and abuse, which drove me to despair and
a change for the worst. However, through the grace of God and the love of my aunt and uncle, I found
myself in a great country, with real friends, excellent teachers, and a second chance in life.
My Forever Family… My Story of Adoption
A
ccording to an ancient Chinese belief, “An invisible red thread connects those who are destined to meet, regardless of time, place or circumstance. The thread may stretch or tangle, but
will never break.” A single red thread connected me to my family when I was 15 months old. I
guess you could say it was destiny that brought us together.
I was born on May 11, 1998, Year of the Tiger, in Qingxin County, Guangdong Province. It was
a bright, warm day and there was a light breeze. After I was born, my birth parents placed me on the
steps of the orphanage with a small, crumpled, red piece of paper. It had my birth date and the time I
was born written in Chinese characters. That’s the only thing I have left of my birth mom.
I lived in the Qingxin Social Welfare Institute for 15 months. The orphanage workers gave me the
name Hua Qing Ming. Hua is the orphanage name. Qing means young, green and Ming means bright.
The orphanage prepared my papers that would allow a family to adopt me.
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Every day I can’t help but wonder why my birth mom couldn’t keep me. Maybe she was young.
Maybe she already had two children or had one child and thought she needed a boy in the family. In
China people believe they must have a boy in the family, to take care of them when they become old.
I like to believe that she loved me more than anything, but wasn’t allowed to keep me. Could she have
wanted me to have a better life than what she could’ve given me? Even though she had to let me go
I believe in my heart that she loves me and thinks about me every day. She is a part of me and I am a
part of her. She gave me my almond shaped eyes, my long black hair, and my musical and artistic talent. I wonder if she was petite like me. Every time I think of my birth parents I suddenly feel empty and
lonely inside. I would do anything to know who my birthparents are.
On August 24th 1999, my whole world changed. That was the day I met my forever family. My
mom says I was born in her heart. I went from being a scared, lonely little girl in China to having a loving family. When mom and dad first saw me they said I looked so sad. Everything was different. There
were so many strange sights, sounds and smells. I didn’t know what was happening. I didn’t smile until
the fifth day I was with them. When I smiled for the first time they were so, so happy. I guess if I was
smiling I must have been happy too.
I will always think about my birth mom, but I am glad I have found my forever family.
Time to Say Goodbye
W
ith my bags packed and ready to go, I sat, leaning over the back of the couch. I stared down
at the road through that big pane of glass anticipating when that car was going to come
rolling around the corner. It felt as if my eyes were going to burn a hole right through the
glass. I hadn’t dared to blink, or look away as I was certain if I did I was going to miss her. I waited for
countless hours; it had gone from light to dark. In my heart I felt she was going to come, thought she
was going to come. But in the back of my head I knew it was only hope. All I had left was that longing hope I was still hanging onto. My stiffened, excited body started to relax as I sank into the couch.
My eyes had become so dry, I didn’t think I could blink, let alone un-focus my eyes from the smear on
the glass. I had given up. The feeling of being let down once again suddenly rushed over my body.
My heart dropped into my stomach and felt so heavy I thought I may just throw up. I was incapable
of moving. My whole body was numb. Nothing seemed to move except for the tears rolling down my
face after each blink. I couldn’t even move to wipe away the tears. She wasn’t coming. After all I knew
she wasn’t going to, but the fact that she didn’t turned my life upside down. It was time. Enough sitting around and waiting, listening to the echoes of each ring that was never going to be answered. No
more broken promises or letting myself down. Promises were made, tears were lost, and phone calls
were ignored. I had to say goodbye.
At fourteen I found myself completely on my own. Although I wasn’t prepared for life without
her, I began to realise I was becoming more and more like her. Like the woman who left me behind.
The memory of her abandonment had been haunting me and I was making the same decisions as she
was. I did not want to be like her and I did not want to choose drugs over my family. This realization
was like slap in the face. It was time to change and time to leave her and those memories behind. It
was the best thing I could have done for myself.
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Three years later my grandmother received a phone call. I can remember this day like it was yesterday. I was sitting in my bedroom watching TV and I had overheard my grandmother speaking on the
phone. “Well you need to stop doing that s**t, get a job and shape up!” I couldn’t help but wonder
who was on the other end of the phone. I turned the volume way down until it was almost completely
silent. I eavesdropped on the rest of the conversation. After a few more sentences were heard I knew
who it was for sure. It was her. I jumped out of bed and darted to the living room before she ended
the conversation. “Is that her!?” I was surprised I was capable of saying those few words. My throat
was tightened and my body was frozen. “She wants to talk to you,” my grandmother said in a sighing
voice as she handed me the phone. The sound of her voice made me burst into tears. She was arrested
and had been put into jail facing many charges. She was caught riding in a stolen truck with drugs,
stolen property, and firearms. She even made it into the newspaper. She was calling to ask my grandma
for some money for food in jail. She told us that she wanted to stop the drugs and she begged to
come home.
A couple of weeks later I got the opportunity to go see her and I couldn’t give the opportunity
up. It was one of the scariest things I have ever done. We were trapped between two thick doors jumping at the loud sound of them slamming and locking behind us. We had to stand and wait for a security guard to escort us. We were assigned a booth number. We sat anticipating when they were going
to let the inmates through to see their friends and family. We sat on a cold, steel stool that was bolted
to the concrete floor. Looking through the glass searching for her, I was wondering which door she
was going to come through. The place was dirty and very intimidating. Finally the prisoners entered the
room all wearing white. White pants and a white button up shirt with white velcro shoes. The way she
looked behind that glass was indescribable; her face was wrinkled and droopy. She had missing teeth;
she looked like I have never seen her before. She looked absolutely horrible. You couldn’t hear anything through the glass; we had to talk to her through the attached phone. Her voice was so raspy and
un-tuned. The moment our hand met one another on each side of the glass, the rushing feeling of my
heart dropping made me burst into tears. I felt like I didn’t even know who she was; she was a stranger
to me. But in reality she was my mother. It had been too late though, I had already said goodbye.
“Candy Apple Red” Nail Polish
L
ife lessons come in a variety of unexpected shapes and sizes. Often these important life lessons
enter our lives when we need them most, even though at the time, we may not realize it. Once of
my greatest life lessons arrived on February 9, 2004, in the form of my ninety-one year old great
grandmother, Barbara Hollman.
I remember the days leading up to her visit. I was stressed out with schoolwork, frustrated with
friends, and feeling like my family was out to get me. I was truly the stereotypical image of a teenager
and convinced that I was the centre of the universe. My fourteen year old brother and I spent the few
days prior to her first visit fighting about which of our two beds would be given up for our great grandmother. The fact that I am a high school senior preparing for university in the fall, served as a strong
justification as to why I could not afford to lose my “academic headquarters” for the ten day visit. My
valid point forced my brother into giving up his bed and “punk-rock” living space to the unsuspecting,
frail and weak senior citizen – or so I had thought.
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After one evening with my Grandmother I discovered that she was a force to be reckoned with.
Her spirit is cleverly camouflaged under a withered and weathered exterior. When stretched to her
maximum height she is a mere five feet tall. Her soft white curly hair frames her delicate, yet deeply
wrinkled face, while her dark beady eyes peer out from behind silver spectacles. However, under this
aged outer shell beats the heart of a lion. The easiest way to describe her physically and mental state is
to compare it to one of Jim Henson’s muppet characters. She doesn’t move very well on her own, she
seems harmless and can often be hard to understand, but when she laughs her whole body shakes, as
she carelessly throws her head back, to expel a joy-filled burst of laughter. With her extraordinary zest
for life and innocent child-like demeanor, she taught me one simple life lesson that I will carry with me
forever. My great grandmother, or “granny,” as I now affectionately call her, taught me that life isn’t
about waiting for that one life altering experience, but rather acknowledging and appreciating all of
life’s simple joys that are so often overlooked.
My granny used one, simple tool in teaching me my lesson – “Candy Apple Red” nail polish.
During the Valentine’s Day weekend my parents were scheduled to attend an arts gala supporting my
mom’s school. In preparation, my mom decided to get her nails done and as a surprise, bring my granny along with her. Originally, my granny put up a fuss and asked, “Why do I need my nails done at
ninety-one years of age?” My mom asked her if she had ever had her nails done before – she hadn’t.
Once they were in the parlour, my granny picked a pearl colour for her fingernails and my mom picked
out “Candy Apple Red” for my Granny’s toes. “Whenever you have a bad day look down at your toes
and you’ll feel better,” my mom explained, as my granny questioned the boldness of the colour.
After her toes were done, my granny sat on a chair and looked admiringly at her toes for literally
half an hour. When my mom and granny returned home that night, my granny insisted that her shoes
were taken off at various times throughout the evening so that she could show off her beautifully
painted toes to everyone and anyone who entered the house.
The rest of the visit was constantly filled by my granny’s exuberant smile and laughter as she
constantly gazed fondly over the bold new colour of her toes. She must have shown me her “princess
feet” at least a dozen times a day, and I found myself getting swept up by her contagious excitement
and “oo’ed and ah’ed” enthusiastically every time she wiggled those little toes in front of my face. I
found myself smiling more than I had in the past few weeks, and found myself painting my own nails
because I wanted to share in her infectious joy.
My granny’s lesson could not have come at a more perfect time. I was stressed by university applications and school assignments, and had been blindly waiting for my own “life-altering” experience
to occur. Somewhere along the way I had lost track of what was truly important and had forgotten to
indulge in life’s simplicities. I had overlooked the importance of enjoying the wonder and pleasure that
simplicity brings to daily life. Granny unknowingly showed me that the events in which the greatest
amount of happiness can be found are often accessible to us on a daily basis.
Before Granny left our house to head back to Good Soil, Saskatchewan, my mother presented
her with a small gift. Granny gave a delighted squeal as she discovered that inside the bag was a manicure and pedicure set, along with a bottle of pearl polish for her fingers and “Candy Apple Red” for
her toes. Granny’s face glowed as she proudly exclaimed that she was going to have her granddaughters back home come over and paint her nails on a weekly basis.
God sent Granny into my life that week – a week when I needed her and her lesson the most.
That was my first real visit with granny and, because of her age, possibly my last. If it was our last visit,
I am left with a feeling of sadness, but also a feeling of blessedness simply because it’s not everyday
that you receive a life lesson from an earthly angel with “Candy Apple Red” toenails.
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The Day My Soul Left My Body
E
very so often a snippet of a memory would be triggered. Reality would melt away, and I would
be lying on my back at thirteen years old. A wave of nausea would hit me, and my body would
begin to shake. I knew something was wrong. I just couldn’t pinpoint exactly what it was. In May
of 2013, two years after the traumatic event, I admitted to myself what I had known all along — I had
been sexually assaulted.
He forced me onto my back and aggressively pulled down my jean shorts. My thin, awkward legs
visibly shook. I squeezed my eyes shut and whispered, “I have to go” over and over. I could never speak
louder than a whisper. My heart was in my throat. As my soul left my body, I watched him force four
fingers inside of the body I had left behind. I wanted to push him off of the poor girl he was violating.
The body lay still, her face turned towards me, tears streaming down her face. I wanted him to hurt like
this girl hurt, but I just stood and watched silently. I was helpless.
My cell phone rang. The body answered. Her eyes were empty, the rims red from crying. My dad’s
voice was coming from the other end. When the body spoke, her words were lifeless. The body pulled
on her shorts and walked to the front door where her book bag sat. I followed the body to my dad’s
car. Sitting in the passenger’s seat, my soul melted back into my body.
For two years after that spring afternoon, my soul was a lifeless void. I was disgusted with myself.
No matter how many times I showered under scalding hot water, scrubbing until my skin turned an
angry red, I could not get him off of me. I blamed myself for what happened, but I couldn’t help but
cringe every time I heard his name. If he came up in conversation, a cold sweat would break out at the
base of my neck. I hated him. I hated myself.
I started to become interested in feminism the summer before tenth grade. I read everything
about the subject that I could get my hands on. I had never felt such a strong passion for something
in my life. I found myself most drawn to the issue of violence against women. As I read the personal
accounts of survivors of sexual assault, I started to think more about the day my soul left my body. The
day my soul changed.
When I admitted to myself that I had been sexually assaulted, I laid in bed for hours crying and
rocking myself back and forth in the fetal position. My mind was racing. My heart pounded in my ears.
I could have vomited. At least I felt something. At that moment, though I did not know it at the time,
the lifeless void that was my soul saw a feeble sliver of light. The light took many months to break
through the dark emptiness. I had hidden the memory of that warm spring afternoon in the deepest
folds of my subconscious. I began to slowly pull those memories to the forefront of my mind. It was a
long, emotionally exhaustive process. It took many months of counselling to unearth even small flashes
of that day: my jean shorts being pulled off of me, a cell phone buzzing on the dresser, the ripping pain
I felt in between my legs.
Once came to terms with my assault, I began to use it to strengthen myself. The light overtook
the void that had defiled my soul. I want women to know they do not deserve to experience violence. I
want men to know they do not hold the right to touch a woman’s body without her consent. I do not
want another thirteen-year-old girl with gangly limbs and crooked bangs to feel the self-hatred that I
felt. I do not want any woman to feel alone after being sexually assaulted.
I was a thirteen-year-old girl, with knobby knees and freckles, who felt empty and alone. I attempted suicide and felt as if life was only a means for me to suffer. I struggled with the darkness
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that had inhabited my soul. I am now a sixteen-year-old woman with ever-present knobby knees and
possibly less freckles. I have days when I feel the void trying to swallow my soul, but I am strong. I am a
powerful young woman. I am a feminist. Feminism has inspired me to use my sexual assault to fuel my
passion for the issue of violence against women. In a way, I am thankful for that warm, spring afternoon. The event of that afternoon has torn me down many times, but after all, I am indomitable.
Journey to the Center of Toronto
W
e all battle to find our way through the doors. I cherish the subtle victory of finding a seat
on my own as the instant boredom overcomes me aboard this germ-infested, underground
nightmare. The subway: once a magical mystery full of tunnels, stops and starts - exciting
new smells of peculiar sorts and strange characters that would always be happy to play the “try to
catch me staring at you game” – the subway. This time however, I now sit in my seat and dread the
very things that once excited me. The smell of grade eight boys after gym class is masterfully brought
to a new extreme by a fifty-five year old Hobo and the “try not to catch me stare at you game” has
now morphed into the “if you want to die, then keep staring at me game.” Oh dear. Why, Oh why, did
I take the subway?
6:24– The train has only made it to one station. Shall I get off and race it by foot? No- too lazy.
“Smoking Kills” ad – still says the same thing as when I first got on. I shall report back in another five.
6:29– Great Zeus’ Beard! We have reached a significant landmark. I repeat, we are now at Dundas station! What is this? New specimens. They are like nothing I have ever seen before. I must take a
closer look. I must preoccupy my mind. I must …
And that was it. At that moment my sarcastic point of view was grabbed hold of by a gorilla sized
realization, and shaken until it was in a concussed state.
Her BOOMING five foot stature and pearly white fur hat, orange jacket and lime green snow
pants, partially covered by a protruding flower dress, was all too much to handle. I had to stare her
down and cut her to pieces in my head. She would never be the wiser, and I would have something to
do for the remaining twenty five minutes and forty-eight seconds left on this overpriced, cataclysmic
disaster people like to call the TTC.
Mrs. Velvochi, (I decided to name her) was an interesting character- her shoes looked as though
they had been made by a pirate seamstress, her clothes a TV show would have trouble replacing, and
her face … looked sad. This caught me off guard. What could she be sad about? I began to look for
answers and unfortunately began to find them. She was reading a book almost as intensely as I was
reading her. To me it read - The Pick-me-up for the Shattered Woman’s Soul. I could tell that her Chicken Soup book was more than just comforting her sick soul, it was an escape from her day to day life.
But it was more than the book that told me she needed comfort; her body simply screamed it.
Every premature wrinkle on her face seemed to tell a story. Her mother? A man that hurt her? Maybe a
son who was into more than he realized? It could have been anything. Anything enough to shatter the
hopes of this fragile, uncoordinated, little soul.
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A few train stations passed and Mrs. Velvochi got off. As she put her book back in her bag I could
tell that, unlike myself, the subway was one of the best parts of her day: An escape from all her worries, safe in the warmth of the shuttle’s compartment, and being able to open her book just for a few
minutes and get that little hug that she had longed for, even if it was only from a book. When Mrs. Velvochi got off the train that day I felt like one of the most worthless people on earth. How dare I make
fun of this little old woman on the basis of her atypical physical appearance?
I looked around the train again and at that moment I opened my eyes. I opened my eyes.
The train was still full, but this time I didn’t see a bunch of weird and tacky people. This time I
saw stories. Stories of people who have sick kids, people who work hard for no money, people who
have faith in goodness even if they may have never seen it themselves, and I see me: A kid with everything I ever wanted and more. “You have no idea how lucky you are,” my grandparents have always
said to me, “You can do anything that you want.” For the first time in my life I saw how right they
were.
I got it. To Mrs. Velvochi, it was not what she wore that mattered. It was the pride she took in her
bizarre, yet clean attire that made me realize it’s not what you wear that matters – it’s how you wear it.
And for Mrs. Velvochi, it was with a head held high.
I couldn’t help but think about how unfair it is that some people get such a hard life and some
people, like me, just get what seems to be a free ride on the train of life. The more I thought, the more
I couldn’t help but notice all the people like Mrs. Velvochi everywhere I went. It was this that made me
come to my grand realization: God gives some of us heavier crosses to bear than the rest. These burdens make us grow, help us appreciate the simple things in life, and love what it is that we have.
What happened to me as I journeyed to the center of Toronto that day I don’t know if I can ever
justly express. As I continue to reflect on that monumental afternoon, I have come to an understanding
that the subway doesn’t pick favourites. Two dollars and seventy-five cents can take me just as far as
the person beside me even if our lives may start and stop at different stations along the way.
Ursa
W
hen you look up to a star filled sky, do you feel more or less alone? The thought that we are
1,287,000 times smaller than the sun, an insignificant star in the universe, can be frightening. Every atom in your body came from a star that exploded. You are a product of a collision
of cosmic particles that have been recycled in the universe for hundreds of millennia. We are all made
of stardust. It is the most divine thing I know about physics. To me, the stars are more than celestial
bodies that emit electromagnetic radiation: they are the proof that ties us to everything in the universe.
They are the wishes, the moments lost in time, the prayers and the heavenly hosts of angels and spirits
that navigate us through life. To some, the stars represent Christ and the interaction between God and
mankind. To others, they are the nocturnal forces that represent the struggle against darkness and the
unknown. I have always believed that the stars embody the concept of the divine spark within each of
us. This is something that my father taught me, before he left and lost his own battle against darkness
and fears.
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At eight years old, I was looking up at the moon, fascinated by how fast it was chasing me. I felt
swallowed whole each time I tried to follow the stretch of the sky. My father, driving our old, silver
Chrysler, would stop sometimes and take in the view of the stars, muttering something about “Ursa.”
He was a quiet, unsociable man who wallowed in his insecurities behind the pale, brittle walls he built
around himself. He had always been an eclipse in my life, a dark shadow with all the light obscured
from his eyes. He had been struggling with his depression for years, refusing to take medication or
therapy. We never really spoke, and at that age, I knew a friendship with him was out of the question.
He never showed any excitement at my swimming tournaments, monthly leadership awards, or perfect
spelling tests. I felt like a pebble in his shoe, but he still gave me a sense of comfort and togetherness.
That night, as we pulled into our driveway, he said he wanted to show me something that made his
purpose greater. I could sense that our conversation would be a serious one, and I was overjoyed that
he wanted to spend time with me.
We sat in the heavy, humid air of that July twilight, slapping away mosquitos and staring into
the deep, pristine night sky. It was like a black velvet cloak had enwrapped the earth, with pinholes in
it revealing the light from heaven. His hands, larger versions of mine, showed me the constellation of
Pegasus. The son of Poseidon, Pegasus was a flying horse, who helped wounded soldiers. He was a
friend to Zeus, and was rewarded by being turned into a constellation. Next, he pointed to Andromeda, and then Leo, the lion. As he told me the stories behind the shapes, I got lost in his voice. In those
moments, the man who I’d always seen as my worst critic became a gentle stargazer and my friend.
I felt accepted by him. A wall had come down between us. His knowledge and fascination with
the universe revealed to me a weak man with a brilliant mind who loved me. I realized that like me, he
was a scientist just trying to make sense of the stars inside of him. He laughed and pointed at a constellation that resembled a spoon.
“See that there? That’s Ursa Major. Above, is Ursa Minor.” The two bears, mother and son, had
also been turned into constellations by Zeus. He said to me, “It’s okay if they’re mother and son, we
can make them father and daughter. That’s us, Julie.” At that moment I felt as if our names were
carved into the sky. Instead of feeling like a pebble, I felt blanketed in a haven of comfort, held in place
and free of worries.
After that night, I became obsessed. I wanted to know everything there was about the universe. I
checked out book after book from the library, watched NOVA documentaries, used the computer, and
got my hands on any sort of information from which I could learn. As I got older, the more I learned
about stars and matter, the less I felt alone in the noisy confusion of life. My story was now mapped
across the sky. During the months when my father fell into a deep depression, and after he chose to
move and leave us, I would look at Ursa Major and Minor to find him.
Now when I watch the stars, I think back to that night. Though my father is no longer in my life,
I am thankful to him for giving me what he could. The night is not to be afraid of—it allows us to see
moments of history in a sky full of stars that are thousands of light years away. I can feel the stars in my
veins, as they fall from the sky and into my hands.
Dad, if you ever get the chance to read this essay, I want you to know that I love you. Although
you’re not with me, I can feel you in the cold, winter wind that dances with my hair as I watch the
night sky. You were right: the stars tell us stories. Throughout my journey as a stargazer, my favourite
story has always remained the one the father bear once shared with his daughter, that story about the
wisdom and magic of the universe.
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The First Day I Caught a Fish
F
ishing is amazing!
Well, we sat at the kitchen table, setting up the little orange and black rod. We was goin’
fishing, I was four.
We had to go dig worms, so on went the rubber boots and we went up to the old garden, mason jar and shovel in hand. Dad started shoveling and I picked the worms out of the cold, wet, spring
soil.
A truck pulling a big boat went by and Mom said, “They are going to catch all the fish in the
lake.” But we wasn’t goin’ to no lake, we was goin’ to old Eliot road.
After that we loaded up and drove back old route 66 (Eliot Road) way back in the middle of
nowhere to some people, but to me it’s just up the road. We hopped out and walked over to the creek.
I remember the banks hung over and the rocks would make the water jump. I thought that those were
so cool; I thought that they were mini waterfalls.
So me and Dad sat down and put a worm on the hook and started fishin’. After a couple of casts
we started getting some bites. The bobber went down. Then it popped back up, and then wiggled,
then… bang! The bobber sunk. Then dad set the hook! Dad handed me the rod and I started reeling.
The tremble of that little orange rod, the flash of the fish, just knowing that a trout was on the
other end of the line -- at that moment I knew fishing was the best thing in my world!
I hauled up the fish and Dad asked me if I want to keep him. I said “Yes, as a pet.” But Dad said,
“If we keep the fish, we have to eat him. So I said, “yes.” Dad kept fishing while I played with the dead
fish in a small pool of water. After that I walked over and seen some bones; I thought they were dinosaur bones but they were actually raccoon bones.
Then we drove home and fried up the trout. I loved the taste of my own fish! And from that day
on I can’t walk past the fishing aisle in Canadian Tire without getting excited.
Movement in G Major
F
reedom has eluded the human race for innumerable years. Too often humans have dreamt of her
touch, only succeeding in locking themselves in their minds. Freedom has taunted humankind
forever it seems, always twirling just out of our reach. She hides deep in the Earth, soars brilliantly through the sky, and even lies sprawled amid the ruins of war. Humans have a need to be free,
etched deep in our soul, and yet freedom escapes most of us even while at our fingertips. Artists, in my
opinion, do not have such troubles. They constantly test their limits, effortlessly drawing her from the
depths of their souls. Even I catch glimpses of freedom. My sightings began when I started to dance,
and I can tell you this: she is beautiful.
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Though it is hard to believe now, I was once the most painfully shy girl at school. I had a few
friends, but probably only because they felt sorry for me. I spent my recesses by myself, either with my
nose in a book or lost in my own fantasy world, and the hours after school were not much different. I
was a very quiet girl, often fading into the background of group conversations and mumbling whenever I had to respond. When asked to speak in class I constantly failed to put my thoughts into words,
and I had a genuine fear of expressing myself. I was afraid, you see. I was fearful that people would
laugh if I told them my ideas or musings. I had formed a shell around myself, hiding from the world.
Just recently, while helping me to apply for university, my father told me, “We (my mother and him)
were very worried about you. We knew we had to get you into a social environment, and fast. ”Luckily
for me, my parents chose to sign me up for dance when I was seven years old.
Being enrolled in my first dance class at Sudbury School of Dance introduced me to a woman
named Denise, who taught me to be proud. She is an absolutely wonderful woman, my ballet teacher
of ten years now, and once I stepped foot in her studio, I was instantly family. That first year of dance
was what began to fracture my shell, but it wasn’t until my first performance when it really cracked.
I was terrified. For that first year recital, I had to perform a ballet piece. It was short, probably no
more than two minutes at the most, and yet to me it was the most gargantuan project that I had ever
faced. It had taken almost four months of preparation to choreograph and memorize the piece, and
the number of steps I needed to remember was daunting. I worried that I would forget the steps and
freeze onstage. Then it was my turn to perform, and I had no chance to be afraid or to worry or even
to think. All I had time for was the movement. I forgot that I was supposed to be terrified. I forgot that
there was an entire theatre watching my every move. I forgot about my fear of self-expression. I simply
danced. It was wonderful.
It is difficult to describe the feeling of dance to someone who has never taken a dance class
before. Believe me when I say that I have tried and failed to explain this verbally to multiple people on
many occasions. Hopefully, this change of medium will allow me to properly express exactly what performing instills in me, and the utter joy that dancing brings every time I step onstage. Perhaps writing
will allow me to explain the amazing happiness, the serene calm, and the absolute wonder that fills me.
The beautiful, astounding, marvellous, and complete freedom that simple movement bestows never
ceases to amaze and delight me. The stage is mine to command; to do with as I see fit. The audience is
mine and mine alone, and it is up to me and my movement to astound and entrance them. My dancing
tells stories of loneliness and camaraderie, of love and heartbreak, and of tragedy and joy. Then, once
the performance is over, the most amazing thing happens. The audience applauds. They clap for both
me and my movement, and the emotions it brings to light. The feeling that I have let them see freedom, even for a moment, is astounding.
This was the beginning of my transformation, a metamorphosis, if you will. My shell began to
splinter and break around me. After all, if I could dance in front of a full theatre audience, why could I
not do other things? What was so terrifying about giving a winning speech to a panel of judges? Why
not act out some of Shakespeare’s more dramatic death scenes in class? There was nothing to stop
me from entering the play, or joining the art club, or trying my hand at the flute. I formed unbreakable
bonds with my family and friends, branching out into the community in search of new experiences. I
am now seventeen years old, in my last year of high school, and I can honestly say that I am the happiest I have ever been.
Dance is the one thing that I cannot live without. It is the one thing that pulls me out of my body
and allows me to breathe. Dancing conjures a feeling of peace deep within my soul, whether it is during “turns around the back” in my modern class, or during an allegro exercise in ballet. The music may
be in four-four or nine-eight time, the tempo may be 200 beats per minute or only 60, or there may
in fact be no music at all, but none of that matters. As long as I am dancing, and as long as I embrace
that peace within, I am happy. I am truly and only myself. I see freedom, and she is beautiful.
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Moment of Clarity
G
rowing up I was, at the very least, a problem child. I constantly lashed out and almost always refused to do schoolwork. I had grown up not knowing the love and comfort of a father and was
never really acknowledged by anyone other than my mother. To put it simply, I was known only
as Julie’s boy. I lived in the shadow of my mother’s success. It was because of this that I lashed out. I felt
hollow, empty and alone. The community brushed me off and no one cared about me other than my
family; however it was not the love of my family that I needed. To be accepted, to be acknowledged,
was what I needed. I just needed the community to notice me and to just ... know my name.
I lived without a cause – without a purpose – and to live without a purpose, what meaning was
there to such an existence? The feeling of loneliness had consumed me. The same familiar darkness I
had grown accustomed to embraced me as if I were a child and it was my mother. I was ... unnecessary. I came to the conclusion that by lashing out people would know me as a trouble maker, but they
would at least know my name. For years I lived my life this way, constantly causing pain and sorrow
to others. It was my way of trying to become closer to everyone ... even if it meant I was hated, there
would still be a connection among all of us. I lived this way until one man would ultimately save me
from my personal hell. His name was Mr. Smith.
Mr. Smith was new to the school. He had been at the school for only a year and was one of the
few white teachers on staff. One day he asked everyone in the class to write a poem or a short story.
After everyone was finished he gathered the papers and said he would return them and give us our
marks the following day. The next day my attitude would forever change and a real smile would finally
form on my expressionless face. He asked everyone to be quiet while he spoke.
“There is one poem I would like to read to the class because I feel we would benefit from hearing
it,” Mr. Smith had said with a grin.
As I move across the plains the blades of grass move and dance at my swift agile movement.
As he began to read the poem my mouth opened wide and my heart came to a stop. It was my
poem! He was actually reading my poem!
Mr. Smith spoke calmly as he continued to read,
At last I reach the river below and see everything in a new way: The river sparkles as if it has a
sheet of ice over it. It flows over rocks allowing a cool mist to enshroud the gorge. Colourful fish swim
through the river adding to the mesmerizing sight. Birds chirp and fly through the meadow beside the
river while an old oak tree provides shade for all those around it.
My eyes frantically scanned the room to see how everyone reacted to my poem. The class seemed
to be drawn in by my writing and Mr. Smith’s calm reading of it.
Mr. Smith continued to read the poem as if he were a father reading to his children ...
Below the tree a pack of wolves rests while the cubs run around the meadow trying to catch the
swirling leaves, and catch the fish in the crystal river. It begins to snow. With my power I shift the fall
of the snow. I will not let winter come to this place for if winter’s cold grip seizes this land, then this
beautiful world would vanish like a dream.
When he finished, the class remained silent.
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“Who wrote that? It couldn’t have been one of us!?” said my cousin, Taylor.
“The writer of this poem was our own Grant LaForme,” said Mr. Smith.
I was in shock. Everyone was looking at me. This time, however, their faces had on an expression
that was different than all the others I was forced to grow used to. Their faces did not show anger or
hate. Instead they were all smiling and nodding their heads in approval. They were finally acknowledging me. They finally looked at me with eyes unclouded. They knew that I was capable, but most importantly, they knew I was somebody, too.
Finally, I was known by everyone, not as the bully or problem student, but as the boy. I was
accepted for who I was. In that one moment every feeling of pain and every ounce of burden that I
carried was lifted. Everything became clear. I would work to build on these relationships with all these
people. I would work and strive to become the best person that I could. I had found my purpose. I was
necessary.
Man of the Moon
I
was once married to the moon. It was beautiful. With the door locked and the curtains closed, I
would spend weeks in solitude, hungrier than ever, but there was not much to be found in the
fridge. I just stayed in bed smoking cigarette after cigarette, trying to kill my appetite for a good
couple of hours. If I inhaled deeply enough, it would do the job. I hadn’t opened the window for
weeks. The second-hand smoke had become so thick, I was actually having trouble identifying objects
on the other side of the room. The whole room was a mess. But I preferred it that way. And alone
in that room, I would patiently await the rise of the moon. We were meant for each other. Me and
the moon. We would stay up all night making love in the dark. No questions asked; I stripped myself
naked as if I was God’s most beautiful child. Never once did she reject me. And although my eyes were
burning from lack of sleep, I felt more awake than ever. The only rest I needed was in between the
blinks. I had become addicted to the dark side and I couldn’t resist this spiritual orgasm it brought me.
I had finally found pain in its most satisfying form. I was going down under where there was nothing
but darkness. I refused to look up. I refused to smile. I refused to live. I had nothing good to reminisce
about. Never in my life had I considered myself to be a happy child. In my grade 1 class photo every
kid was smiling but me. I couldn’t help asking myself, why? Why was I deprived from my childhood?
Why did happy hours never appear on my watch? I don’t know…but I learned to accept it. I learned to
prepare my umbrella despite how good the weather appeared to be. Good things just never seemed
to come my way. God and I had never been at peace with one another. I learned to accept it, but only
after I promised to get my revenge. Revenge for being brought into this unforgiving world.
By the age of sixteen my morals were non-existent. I just didn’t care anymore. One breath away
from suicide. One decision away from getting a “F***k the World” tattoo inked on my forehead. I
was on a mission to murder my true self. I was on a mission to get rid of Arian and replace him with
the most ruthless devil the world had ever seen. For once in my life, I was actually determined to
become something. Late afternoons, I left the apartment with an empty stomach to meet up with my
boys from the plaza. We bought our daily 40 ounces of Old English and drank until the alcohol took
control of our lost souls. We then dropped the empty bottles and ran around the neighborhood robTURNING POINTS –
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bing anything that moved. My actions illustrated measures beyond a complete lack of respect for the
law. I was breaking down my own principles until I had nothing more to live by. I was surrounded by
animals. One was using the phonebook as toilet paper. The other was banging into brick walls just
to watch his head bleed. I was feeding off other people’s pain; only to multiply my own. Hustling the
hustlers. Sticking up the stick-up kids. I was a human mine running loose on the streets. All I needed
to explode was someone stepping on my boots. Was I prepared? I was prepared. I was prepared to
stab a bus driver for having the nerve to ask me for a student card. I was prepared to make the six
o’clock news. And it wasn’t even about the money. I never cared for jewels. I never cared for clothes.
I was out for revenge! I had developed a strong distaste for humans and I didn’t want to see anyone
smiling.
One Friday evening, I found myself being arrested for breaching three of my prior bail conditions. I was handcuffed at the exact same plaza and escorted to the exact same police division. I went
through the same booking procedures with a big devilish smile on my face, mocking every police officer I recognized at the station. I had been there before so I had no problem limping around as if it was
my own living room.
But this time I was in for a different ride. My brother didn’t come to bail me out like last time.
My mother did.
She was dressed all in black. I was quite amazed at how she entered the courtroom with her
head up, trying to convince the world that she had no fault in my upbringing. My mother had always
been good at convincing people, but this time she had failed to convince herself. Failure was written
over her face. There she was…in the courtroom, patiently waiting for the judge to call my number.
She was staring at me the whole time. And there I was…in the offender’s booth, slouching with my
arms cuffed to the back. Greasy hair sticking out in all directions. Eye bags bruised up and swollen.
A big black worn out coat hanging from my skinny shoulders. It was not a pretty sight. I could feel
the court’s attention bearing down on me. Then a low voice made its way from the other sides of
the room “Arian Furi. Will the defendant please rise?” And for twenty minutes my case was looked
through while my mother had to answer intimidating questions regarding my misbehaviour. I remained
standing in the offender’s booth -- zoned out. None of what was being said was being processed. I
couldn’t think straight. Moments later, I heard a slam on the table followed with a bold and unforgiving voice: “Bail denied!” I could sense my mother’s disappointment burning through my soul. Her son
was not even worthy of freedom. I didn’t dare to look her in the eyes. The little of me that was still left
only she could recognize. She was the one who had changed my diapers. She was the one who had
brought me home Kinder Eggs every Friday after work, watching me proudly as I put together the toy
all by myself. No matter whom I had become. No matter what I had become. She had no problem
finding my heart.
And after spending fourteen lonely days in Hamilton’s youth penitentiary, my life’s turning point
took its course. It was time and I was ready to find my own heart.
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The Learning Partnership
45 Sheppard Ave. East, Suite 400, Toronto, ON, M2N 5W9
Tel.: 416 440 5100 1 800 790 9113 Fax: 416 482 5311
Email: [email protected]
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October 13, 2015 4:17 PM